SARDOU. 
The  black  pearl. 


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LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 


PRESENTED  BY 

MRS.    WILLIAM   ASHWORTH 


The  Black  Pearl :  a  Co- 
medy in  Three  Acts :  by 
Victorien  Sardou :  Trans- 
lated by  Barrett  H.  Clark 


Samuel  French  :  Publisher 

28-30  West  Thirty-eighth  St. :  New  York 

LONDON 

Samuel  French,  Ltd. 

26  Southampton  Street,  Strand 
PRICE  TWENTY-FIVE  CENTS 


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THE  WORLD'S  BEST  PLAYS 

BY  CELEBRATED  EUROPEAN  AUTHORS 


BARRETT  H.  CLARK 

GENERAL    EOrrOB 


The  Black  Pearl :  a  Co- 
medy in  Three  Acts :  by 
Victorien  Sardou :  Trans- 
lated by  Barrett  H.  Clark 


Samuel  French":  Publisher 

28-30  West  Thirty-eighth  St. :  New  York 

LONDON 

Samuel  French,  Ltd. 

26  Southampton  Street,  Strand 


Copyright,  1915 
By  SASItTEL   Fkexcii 


LIBF.AF.Y 

univf"r,f;tty  of  c.at.tfornia 
santa  barbara 


VICTORIEN  SARDOU 

Victorien  Sardou  (1831-1908)  was  one  of  the 
most  ingenious  dramatists  of  modern  times.  For 
more  than  thirty  years  he  was  a  commanding  figure 
in  the  French  theater,  to  which  he  contributed  over 
a  hundred  comedies,  melodramas,  and  librettos. 
The  wide  range  and  extraordinary  fertility  of  his 
talent  may  be  estimated  by  comparing  such  works 
as  "Patrie!"  "La  Perle  noire,"  ("The  Black 
Pearl  "),  "  La  Tosca,"  and  "  Les  Pattes  de  mouche  " 
("A  Scrap  of  Paper").  While  Sardou  was  not 
a  great  thinker,  his  exhaustive  knowledge  of  stage 
technic  entitles  him  to  a  position  among  the  most 
important  of  nineteenth  century  playw  rights. 

"  The  Black  Pearl,"  requires  no  very  difficult  act- 
ing. The  costumes,  which  ought  to  be  early  nine- 
teenth century,  might  (except  for  one  important 
anachronism)  be  modern.  The  stage-directions  in 
the  text  are  adequate. 


THE  BLACK  PEARL 


PERSONS  IN  THE  PLAY 

M.  Tricamp 

Cornelius 

Balthazar 

Vanderven 

Petersen 

First  Police  Officer 

Second  Police  Officer 

Christiane 

Sara 

GUDULE 

Merchants  and  their  Wives. 

The  scene  is  Amsterdam,  1825. 


THE  BLACK  PEARL 


ACT  I 


Scene  :  A  large  room  on  the  ground-floor  of  the 
home  of  a  rich  Dutch  merchant.  At  the  back, 
to  the  spectator's  left,  is  the  principal  entrance  ; 
to  the  right  of  this  is  a  window,  protected 
by  iron  bars,  opening  upon  the  street.  Betzveen 
the  door  and  the  windoiu  is  a  cupboard.  Dozvn- 
stage  to  the  left,  a  large  fireplace.  Half-zvay 
upstage  on  the  same  side,  a  passage-zvay  opens 
upon  another  room,;  next  to  it  is  a  wooden 
stairzcay  leading  to  the  upper  floor.  Down- 
stage to  the  left  is  the  door  of  Christiane's 
room.  Half-zvay  up-stage  on  the  same  side  is 
the  door  of  Balthazar's  office.  To  the  left  is 
a  large  table;  here  and  there  are  sofas,  chairs,  a 
copper  lamp,  etc. 

Just  before  the  curtain  rises,  the  sound  of 
a  gathering  thunderstorm  is  heard.  As  the 
curtain  rises,  Gudule  is  seen  at  the  left,  kneel- 
ing. Christiane  comes  from  her  room,  a  small 
packet  in  her  hand;  she  goes  to  the  zvindozv. 
As  she  is  about  to  open  it  a  bright  flash  of 
lightning  momentarily  blinds  her,  and  almost 
at  the  same  time  the  crash  of  thunder  breaks 
over  the  house.  Christiane  shrieks  and  falls 
into  a  chair. 

5 


6  THE  BLACK  PEARL 

GuDULE.  Ah,  Alademoiselle  Christiane — right 
over  the  house ! 

Christiane.     I  was  so  frightened ! 

GuDULE.  I  heard  that,  and  no  mistake !  And 
I'm  deaf.  Heavens,  my  child,  I  can't  get  up,  now ! 
This  is  the  end  of  the  world ! 

Christiane.  (Helping  her  to  her  feet)  Not 
yet — good  old  Gudule  !    Sit  there  ! 

GuDULE.  You  are  pale  yourself — poor  little 
dear ! 

Christiane.  IMy  heart's  beating  at  a  terrific 
rate !  (She  goes  to  the  zvindorv-sill  zvhere  she  takes 
the  packet  she  had  left  there) 

Gudule.  Don't  open  the  window,  Mademoiselle 
Christiane,  you'll  attract  the  lightning!  (She 
stops  her  ears  ivith  her  apron.  The  thunder  is 
heard  rolling  farther  off  noiv;  the  rainfall  is  not 
so  constant  as  before.  The  lightning-flashes  con- 
tinue ) 

Christians.  The  storm's  passing  over — and  the 
rain-fall  is  not  so  heavy.  (To  herself,  after  glanc- 
ing at  the  street  outside)  He  won't  come  in  this 
weather. — What  shall  I  do?  (A  knock  is  heard  at 
the  outer  door) 

Gudule.    Someone's  knocking. 

Christiane.  (Disturbed)  Yes,  it's  Monsieur 
Balthazar !  (She  tries  to  hide  the  packet.  The 
knocking  continues  ivithout  interruption) 

Gudule.  Mademoiselle  Christiane,  1  can't  move 
a  finger  !    You  please  open  the  door  ! 

Balthazar.      (Outside)      Christiane!      Gudule! 

Christiane.  (Hiding  the  packet  in  the  cup- 
board) Very  well,  I'm  coming.  (She  opens  the 
door) 

(Enter  Balthazar  and  Cornelius.  Both  come 
in  hurriedly,  shaking  the  ivater  from  their 
clothes.     On  Cornelius'  shoulder  is  a  large 


THE  BLACK  PEARL  7 

kite,  the  tail  of  zuhich  is  composed  of  paper 
snnfiozvers.) 
Balthazar.    The  idea !    To  keep  us  waiting  out- 
side in  such  weather ! 

Cornelius.  Brrr !  Quick,  quick !  Some  fire, 
Gudule ! 

Balthazar.    Towels — dry  clothes — slippers  ! 

(Christiane  runs  back  and  forth,  carrying  the  loet 
coats  and  hats  into  the  room  to  the  right.) 

Cornelius.    We're  running  streams  ! 

Balthazar.     Here,  wipe  off  the  water — quick ! 

Gudule.  (Wiping  the  floor)  Oh,  Lord  save  us 
— my  poor  floor ! 

Cornelius.    Not  the  floor  :  us  ! 

Balthazar.  (Putting  on  a  dry  coat)  Of 
course — she's  so  Dutch — and  then  she  doesn't  hear. 

Christiane.  (Going  to  Cornelius  to  relieve 
him  of  his  cape)  Will  you  uUcvv  me,  Monsieur 
Cornelius ? 

Cornelius.  My  dear  child !  And  I  never  even 
shook  hands  with  you !  Why,  you're  frozen ! 
What's  the  trouble? 

Balthazar.    You're  red  as  a  beet ! 

Christiane.  That  terrible  crash  a  moment  ago 
— I'm  still  trembling  ! 

Balthazar.    Did  you  hear  it,  too  ? 

Cornelius.  (Rubbing  Christiane's  hands) 
Poor  child ! 

Balthazar.  Every  window  in  Amsterdam  looked 
like  a  burning  flame. 

Christiane.    Were  you  in  the  street? 

Balthazar.  (Warming  himself  by  the  fire)  I 
was  on  the  Amstel  Quay — under  a  projecting  roof 
— with  him. 

Christiane.  Under  a  roof !  And  how  wet  you 
are  !    Soaked  to  the  skin  ! 


8  THE  BLACK  PF:ARL 

(Cornelius  puts  the  kite  against  the  table,  left.) 
Balthazar,     Do  you  know,  he  was  there,  had 

been  for  an  hour,  sitting  on  a  chair.  You'd  never 
imagine  what  he  was  doing !  Trying  to  fly  his  kite 
over  the  Amstel ! 

Christiane.    His  kite? 

Balthazar.  Yes.  The  idea — flying  a  kite  in 
this  weather !  And  he's  a  sane-minded  man,  a 
scholar,  even — the  m.ost  renowned  chemist  in 
Amsterdam. 

Cornelius,  Don't  Hsten  to  him,  my  dear.  He 
doesn't  know  what  he  is  saying,  the  ignoramus !  I 
don't  fly  my  kite  for  amusement ;  I  was  trying  to 
prove  {He  takes  the  kite)  the  presence  of  nitric 
acid  in  electricity-charged  clotids.  See,  the  papers 
on  the  tail  of  my  Jcite  have  turned  pink. 

Balthazar.  Is  that  why  you  were  standing 
there  ? 

Cornelius.  (Goes  to  the  back  and  lays  the  kite 
against  the  wall,  next  to  the  windoiv)  Of  course. 
You  see,  the  houses  were  separated — clear  horizon, 
ten  lightning-rods  in  sight — and  all  on  fire !  It  was 
perfectly  arranged  for  me.  I've  been  on  the  lookout 
long  enough  for  this  storm.  I  wanted  to  study  it  at 
close  range.  {Thunder  is  heard  in  the  distance.— 
Cornelius  rubs  his  hands)  Rumble,  I  know  what 
3'ou  do  now,  and  I'll  tell  you  whenever  you  like  ! 
{The  zvomen  lay  the  table-cloth) 

Balthazar.  {Going  to  the  ivindozv)  What  the 
devil  do  you  find  so  interesting  in  thunder  and 
lightning? 

Cornelius.  Poor  fellow !  Interesting?  {A  flash 
of  lightning)     What  is  that,  now? 

Balthazar.  {Startled)  Oh!  A  streak  of  light- 
ning !     {He  comes  down-stage) 

Cornelius.  {Also  coming  dozvn-stage)  Yes, 
but  what  kind? 


THE  BLACK  PEARL  9 

Balthazar.    Why — it's  ordinary  lightning. 

Cornelius.  (Seating  himself  in  front  of  the 
f.re)  You  don't  understand:  there  is  lightning  and 
lightning :  lightning  of  the  First  Class,  in  the  form 
of  a  streak  or  a  zig-zag ;  Second  Class,  in  the  form 
of  a  sheet ;  and  finally  the  Third  Class,  or  Globular. 
Now  the  question  is,  is  this  really  spherical  or  is  it 
only  an  optical  illusion?  That's  been  troubling  me 
for  a  long  time.  You  will  of  course  reply  that  the 
globe  has  been  observed  beyond  a  doubt  by  Howard, 
Schubler,  Kamtz 

Balthazar.  I  reply  nothing  at  all ! — Here,  the 
table  is  set,  let  us 

Cornelius.  {Interrupting  and  holding  him  by 
the  arm)  But  they  have  never  observed  it  as 
carefully  as  I  just  did.     There  is  positively  a  globe. 

Balthazar.    Then  it's  all  right? 

Cornelius.     Quite. 

Balthazar.     And  you  are  happy? 

Cornelius.    I  am. 

Balthazar.    Then  let  us  have  supper ! 

Cornelius.  (Rising)  Yes — supper!  (They 
start  for  the  table) 

Balthazar.  What,  only  two  places?  (To 
Christiane)     Aren't  you ? 

Christiane.  I'm  not  hungry,  Monsieur  Bal- 
thazar. Excuse  me,  but  this  storm  has  so  upset 
me 

Cornelius.  All  the  more  reason  why  you  should 
eat  something,  my  child. 

Christiane.  No,  please,  let  me  run  around  and 
wait  on  you — I  couldn't  possibly  sit  still !  Gudule 
can't  move  !  I'd  rather  wait  on  you.  (She  goes  out, 
right) 

Cornelius.  (Following  her  z^nth  his  eyes) 
What's  the  matter  with  her  to-night? 

Balthazar.  (Sitting  at  the  table)  The  storm 
— women  are  so  nervous. 


10  THE  BLACK  PEARL 


(Christiane    goes    back    and    forth    during    this 
scene.) 

Cornelius.  {Likewise  sitting  dozvn)  If  they 
were  not,  we  should  be  deprived  of  the  happiness 
of  protecting  them  Hke  children.  This  little  one  is 
particularly  delicate.  Really,  I  can't  look  at  her 
but  that  tears  come  to  my  eyes — she  is.  so  sweet,  so 
good,  so  tender ! 

Balthazar.  {Serving  Cornelius)  Ha,  Master 
Cornelius,  you  are  nearly  as  enthusiastic  about 
^Mademoiselle  Christiane  as  you  are  aljout  your 
thunder ! 

Cornelius.  It's  not  the  same  thing — though  her 
eyes  flash  lightning  \ 

Balthazar.  When  they  are  directed  upon  your- 
self i     I've  noticed  it. 

Cornelius.     What,  you — ? 

Balthazar.     Indeed  I  have  ! 

Cornelius.    Sh  !    Here  she  is  ! 

Christians.  {On  the  threshold)  What  sort  of 
beer  will  you  have  ? 

Balthazar.  I  think  we'll  have  some  French 
wine ;  beer  doesn't  make  one  so  talkative  as  wine, 
and  I  want  to  make  Cornelius  gossip. 

Christiane.  I'll  get  some  at  once!  {She  dis- 
appears) 

Balthazar.    Gone ! 

Cornelius.     You  say  you've  noticed ? 

Balthazar.  Yes,  I've  noticed,  you  infant 
scholar,  that  you  amuse  yourself  in  other  ways 
than  flying  a  kite  over  the  Amstel 

Cornelius.     Do  you  think  for  an  instant ? 

Balthazar.  Why,  for  the  past  three  months, 
Cornelius — and  it  wasn't  for  the  sake  of  gazing  at 
my  handsome  countenance,  either — you  have  come 
here  twice  a  day :  at  noon,  on  your  way  to  your 


THE  BLACK  PEARL  ji 

classes  in  the  zoological  garden,  and  at  four,  on 
your  way  home. 

Cornelius  (Quickly)  It  was  the  quickest 
way. 

Balthazar.     Yes — to  fall  in  love. 

Cornelius.     Ah,  but  Christiane 

Balthazar.  Let's  talk  sense :  Christiane  is  no 
ordinary  girl,  you  know :  she  was  a  little  waif  whom 
my  mother  adopted.  She  is  practically  a  sister 
to  me.  She  is  intelligent,  and  fairly  well  educated ; 
enough,  1  assure  you,  to  admire  a  scientist  like  you. 
Now  you  take  her  hands  in  yours,  inquire  after  her 
health :  you  lend  her  books  which  she  devours. 
Why,  you  give  her  a  complete  miniature  course  in 
chemistry  when  she  shows  you  a  spot  on  her  dress ! 
Natural  history  when  one  of  you  refers  to  a  pot 
of  flowers !  Physiology  when  you  catch  sight  of  the 
cat.  And  the  way  she  listens  to  you :  all  ears,  all 
eyes — and  you  appear  to  doubt  a  love-affair  between 
a  teacher  of  twenty-five  anrl  a  stud^^it  of  eighteen ! 
Nonsense ! 

Cornelius.  (Resolutely)  Well,  I  do  love  her. 
Now  what  have  you  to  say? 

Balthazar.    What  have  youf 

Cornelius.    I  wish  to  make  her  my  wife ! 

Balthazar.    Then  say  so ! 

Cornelius.    I  do. 

Balthazar.    You're  talking  nonsense. 

Cornelius.     You  are. 

Balth.^zar.    But 

Cornelius.     Sh !    Here  she  is  ! 

(Christiane  re-enters  zvith  a  bottle  of  zvine.) 

Christians.  Here  is  our  best  wine,  Monsieur 
Balthazar. 

Balthazar.     (Pouring  the  zvine,  then  stopping 


12  THE  BLACK  PEARL 

to  cast  a  sorroicful  glance  at  the  little  label  on  the 
bottle)     With  the  date  v/ritten  out 

CiiRiSTiANE.     (Sadly)— m  her  own  hand  ! 

Balthazar.  (Sighing)  Poor  woman — she  al- 
ways used  to  label  them  that  way. 

Cornelius.    Who? 

Balthazar.     My  mother,  Cornelius. 

Cornelius.  {Grasf^ing  Balthazar's  hand)  I 
beg  your  pardon ! 

Balthazar.  And  when  I  think  that  scarcely  a 
year  ago  she  was  here — let's  not  talk  about  it, 
Cornelius ! 

Cornelius.  If  you  have  no  hope  of  seeing  her 
again,  then  you  are  right,  Balthazar;  never  men- 
tion her,  it  will  bring  only  sorrow.  But  if  you  be- 
lieve, as  I  do,  in  a  happier  world  where  we  shall 
see  our  loved  ones  again,  then  let  us  by  all  means 
speak  of  her.  Forget  that  her  death  is  painful  only 
to  remember  that  it  is  a  bright  hope.  Let  us  think 
of  those  dear  dead  who  are  more  living  than  we, 
because  they  are  nearer  God. 

Balthazar.  You  are  right,  Balthazar — but  look, 
the  child  is  crying. 

Cornelius.  (Rising)  Christiane !  My  dear 
Christiane !  (Christiane  turns  aside  and  hides 
her  face  ivithont  anszvering;  then,  no  longer  able  to 
restrain  the  tears,  she  goes  out  quickly  into  her 
room) 

Balthazar.  She  is  going  to  her  room  to  cry. 
She  loved  her  so  tenderly.  (Rising)  Well,  Fm 
not  hungry  now — oh,  and  since  the  ice  is  broken 
between  us,  shall  I  speak  to  her  about  your — 
plans  ? 

Cornelius.    Oh,  not  now. 

Balthazar.  That's  so.  You  are  assured  of 
your  happiness,  you  can  afford  to  wait,  (With  a 
sigh)  but  I 

Cornelius.    Yes? 


THE  BLACK  PEARL  13 

Balthazar.  I  too  love  someone,  but  I  have  no 
hope— don't  say  anything  about  it.  By  the  way,  I 
shouldn't  mention  it  to  a  mere  friend,  only  Chris- 
tiane's   future  husband  should  know. 

Cornelius.    What  is  it? 

Balthazar.  {Taking  tobacco  and  pipes  from  the 
fable)  Did  you  ever  wonder  under  what  circum- 
stances, Cornelius,  this  young  girl  Avas  taken  into 
our  family? 

Cornelius.  (Filling  his  pipe)  I  have,  but  I 
came  to  the  conclusion,  as  everyone  else  has,  that 
your  good  mother  (Grasping  Balthazar's  hand) 
T  may  speak  of  her  now,  may  I  not?  that  your 
good  mother,  the  most  kind-hearted  of  women 

Balthazar.  Yes,  but  the  exact  circumstances — 
you  don't  know  ;  I'm  going  to  tell  you. 

Cornelius.    Very  well. 

Balthazar.  A  short  time  after  my  father's 
death,  in  181 2 — thirteen  years  this  Christmas — my 
mother  was  at  Mass  one  Sunday.  There  was  a 
large  crov.-d  about  her ;  and  all  at  once  she  felt  some- 
one pressing  against  her.  She  paid  no  attention  at 
first,  then  she  felt  it  again,  and  thought  someone 
was  trying  to  pick  her  pocket.  She  caught  the  hand 
of  the  thief— the  tiny  hand  of  a  little  girl,  a  delicate, 
pink-skinned  child 

Cornelius.     Christiane? 

Balthazar.  Yes.  My  mother's  eyes  filled  with 
tears  to  see  those  little  cherub's  fingers  learning  to 
do  wrong  at  so  tender  an  age.  She  immediately 
released  the  child,  because  she  pitied  her,  then  her 
sense  of  charity  and  justice  told  her  it  was  wrong 
to  do  so.  Who  knew  whether  Providence  had  not 
sent  her  this  tender  soul  to  save !  Then  she  took 
little  Christiane  home ;  the  child  cried  and  said  her 
aunl  would  beat  her.  My  mother  comforted  her, 
made  her  talk,  and  finally  learned  that  the  child's 
parents  had  been  tumblers  who  had  come  from  La 


14  THE  BLACK  PEARL 

Frise,  the  sort  who  wander  about  from  fair  to  fair ; 
that  the  little  girl  had  been  trained  at  a  very  early 
age  to  do  acrobatic  feats ;  that  the  father  was  killed 
while  performing  a  dangerous  act.  the  mother  died 
of  sorrow  and  poverty,  and  that  the  so-called 
"  Aunt  "  was  a  bohemian  of  the  same  tribe,  who 
beat  the  child,  and  taught  her  to  steal.  My  good 
mother  kept  the  little  one,  and  the  "  Aunt,"  as 
you  may  easily  imagine,  did  not  come  to  claim  her. 
She  taught  her  to  read  and  write — but  first,  to  pray: 
that  has  been  her  faith — and  before  long,  Christiane 
was  a  model  of  sweetness  and  decency.  And  what 
a  housekeeper !  You  know  her,  Cornelius !  And 
then  she's  pretty  and  good  and  prudent.  She  would 
sit  up  all  night  if  I  allowed  her,  making  clothes  for 
the  poor,  or  staying  with  some  sick  neighbor. 
Cornelius,  I  feel  that  my  dear  mother,  in  dying, 
left  her  splendid  qualities,  her  sweet  face  and  her 
kind  heart,  to  Christiane.  Thanks  to  her.  I  can  now 
make  you  a  gift  of  the  greatest  blessing  on  earth: 
a  good,  lovable,  and  upright  woman ! 

Cornelius.  I  thank  you  from  the  bottom  of  my 
heart,  Balthazar.  When — when  shall  we  have  the 
wedding  ? 

Balthazar.    Are  you  perfectly  sure  of  yourself? 

Cornelius.     Of  course.     Why  should  I  not  be? 

Balthazar.  I  don't  know — I  thought  perhaps 
— the  daughter  of  circus-performers — a  bohe- 
mian  ? 

Cornelius.    Well,  what  of  it? 

Balthazar.  And  she  was  found — as  I  have  told 
you! 

Cornelius.  She  is  fundamentally,  honest ;  she 
was  taught  evil,  but  how  quickly  she  learned  what 
is  good ! 

Balthazar.  You  are  right.  But  think, 
Cornelius:  a  street-waif?  No  relative  to  lead  her  to 
the  altar !    No  family  ! 


THE  BLACK  PEARL  15 

CoRXELius.    All  the  more  reason ! 

Baltpiazar.    No  name ! 

Cornelius.    I  shall  give  her  an  honorable  one. 

Balthazar.  You  are  so  splendid !  I  am  proud 
to  be  your  friend.  {There  is  a  knock  at  the  front 
door) 

Cornelius.     Someone's  knocking. 

Balthazar.    Yes. 

Cornelius.    I'll  go. 

Balthazar.  No,  no.  Don't  move.  (He  opens 
the  door,  and  Vanderven  enters. — Aside)  Well! 
who  is  he?    I  don't  know  him? 

Vanderven.  (JVho  enters  quietly)  Monsieur, 
I  am  happy  to  see  you.  (Catching  sight  of 
Cornelius)  Monsieur,  also!  (Balthazar  and 
Cornelius  look  at  him  in  amazement.  He  con- 
tinues, after  catching  his  breath)  It's  nothing — an 
accident 

Cornelius  and  Balthazar.     An  accident ! 

Vanderven.  (Panting)  Yes — oh,  it's  not 
much !  My  niece  was  on  her  way  to  the  theater ; 
she  tried  to  jump  a  little  brook,  and  she  sprained 
her  ankle. 

Balthazar.  Where  is  she  ? — Gudule  !  (A 
moment  later  enter  Gudule) 

Vanderven.  Outside — it's  really  not  serious. 
Come  in,  dear.  (Balthazar  goes  to  the  door  and 
offers  his  arm  to  a  lady  whom  he  does  not  recog- 
nize)    Mademoiselle 

Sara.  (Who  is  veiled)  It's  nothing  to  trouble 
about.  Monsieur !  I'm  more  frightened  than  hurt. 
(He  conducts  her  to  a  chair,  zvhere  she  sits  dozvn) 
M}-  Uncle  is  so  nervous — he  is  exaggerating!  (She 
lifts  her  veil,  at  the  same  time  that  Gudule  gives  her 
a  glass  of  water) 

Balthazar.      (Aside,   recognizing   her)      Sara! 

Cornelius.     What? 


i6  THE  BLACK  PEARL 

Balthazar.  (Deeply  moved)  Heavens!  It's 
she  I 

Cornelius.     (Surprised)     She? 

Balthazar.     (Interrupting)     Sh ! 

Vanderven.  Well,  now  we're  comfortably 
settled  among  friends,  Sara — !  (To  Balthazar) 
You  know,  I  was  a  friend  of  your  father's?  A 
sphndid  man — (He  looks  at  his  watch)  I  must 
have  the  carriage  'brought.      (He  zvalks  upstage) 

Cornelius.  (Going  with  him)  Allow  me.  Mon- 
sieur  

Vanderven.  No,  no.  I  much  prefer — it  will  do 
me  good — my  head  is  all  in  a  whirl,  and  my  phy- 
sician has  forbidden  me  to  subject  myself  to  violent 
emotions,  and  this  has 

Cornelius.    Very  well. 

Vanderven.  Wait  for  me,  Sara.  (At  the 
threshold)  It's  nothing,  you  know — nothing  at 
all,  my  dear. 

vSara.     I'm  all  right  now.  Uncle. 

Vanderven.  A  little  walk  in  the  air  will  do 
good. 

Cornelius.     For  Mademoiselle? 

Vanderven.    No — for  myself  ! 

Cornelius.    Oh,  I  see. 

Vanderven.     (As  he  leaves)     Yes. 

Cornelius.  Very  well.  (Closes  the  door)  Ha! 
That  uncle ! 

Balthazar.  Ah,  Mademoiselle,  to  think  that 
you  are  in  my  home !     I  simply  cannot  believe  it ! 

Sara.  (Gaily)  Yes,  Monsieur,  it's  I:  one  has 
to  resort  to  all  manner  of  means  to  see  you. 
(Balthazar  motions  Gudule  to  leave) 

Cornelius.  (Aside,  as  he  comes  down-stage  and 
sees  Balthazar's  gesture)  Ah!  I  am  in  the  way, 
too!     (He  returns  to  take  his  hat,  cape,  and  kite) 

Balthazar.  (To  Sara)  And  I  never  dared 
show  myself  at  your  home ! 


THE  BLACK  PEARL  17 

Sara.    Why  not,  Monsieur? 

Balthazar.     Why  not  ?     It's  all  changed  now ! 

Sara.     {Laughing)     Dare  something,  at  least ! 

Balthazar.  Very  well.  Mademoiselle.  {To 
Cornelius,  zvho  is  at  the  door)     Are  you  going? 

Cornelius.    Yes,  I  am. 

Balthazar.  {Quickly  bringing  him  back)  No, 
no.  Stay !  He  is  a  friend,  Mademoiselle  Sara,  al- 
most a  brother,  before  whom  I  can  speak  with  more 
assurance 

Sara.  I  know  Monsieur  Cornelius :  I  have  seen 
him  so  often. 

Cornelius.     (Surprised)     Here,  Mademoiselle? 

Balthazar.  Of  course.  Don't  you  recognize 
Mademoiselle? 

Cornelius.  {Trying  to  remember)  Now,  it 
seems  that 

Sara.  Don't  you  remember  the  little  dressmaker 
who  used  to  come  and  mend  the  laces  of  dear 
Madame  Vanderlys  ? 

Cornelius.  What,  little  Sara— charming  little 
Sara ? 

Sara.     Stop,  now,  or  I  shan't  dare  say  it  was  I ! 

Cornelius.     Is  it? 

Balthazar.    Of  course ! 

Cornelius.  (Sifting  dozvn  unth  Balthazar) 
Is  it  possible  ?    You  ?    But  how —  ? 

Sara.  You  mean,  how  does  it  happen  that  that 
young  girl  who  was  so  pretty — and  yet  so  poor,  so 
neglected— to-day  has  a  home,  horses  and  car- 
riages  ? 

Cornelius.  And  this  uncle  whom  we  have  just 
seen  ? 

Sara.  Hasn't  Monsieur  Balthazar  told  you  ? 
{To  Balthazar)  Didn't  you  tell  him,  Monsieur? 
Don't  you  ever  talk  about  me  ? 

Balthazar.  Oh,  a  great  deal— only — to  my- 
.self ! 


i8  THE  BLACK  PEARL 

Sara.  Monsieur  Cornelius,  one  morning  as  I 
was  going  to  work,  my  uncle — whom  I  didn't  know 
at  that  time — came  for  me  in  a  great  carriage  and 
took  me  to  his  brother  Monsieur  Vanderven  the 
banker,  who  was  sick  in  bed.  He  took  me  in  his 
arms  and   called   me  daughter.     I   couldn't  imder- 

stand !      How    could    that    man,    whom    I    had 

never  seen,  be  my  father?  It  was  all  carefully  ex- 
plained to  me.  Still  I  didn't  understand  everything. 
He  took  my  hand,  the  poor  man,  and  said :  "  My 
dear  child,  I  am  dying,  and  I  want  to  make  repara- 
tion for  the  wrong  I  have  done;  in  neglecting  you 
for  so  long.  I  have  suffered  more  than  you,  for  I 
might  have  had  an  angel  like  you  all  my  life  long, 
but  I  never  deserved  it,  because  I  never  wanted  it." 
Then  he  kissed  me,  and  cried.  I  cried,  too.  Then 
some  lawyers  came  in,  and  we  both  signed  papers, 
and  everybody  began  to  call  me  Mademoiselle 
Vanderven.  The  next  day  I  was  left  alone,  for  he 
died  without  my  learning  to  know  him  or  love  him. 
That  is  why,  Monsieur  Cornelius,  I  have  a  home 
and  horses  and  carriages. 

Cornelius.  This  uncle  who  came  with  vou 
? 

Sara.  Sometimes  I  catch  myself  saying.  "  Are 
you  really  my  uncle  ?  " 

Cornelius.     And  he  answers? 

Sara.     That  he  will  be  something  better  still. 

Balthazar.    What  ? 

Sara.     My  husband. 

Cornelius.    Good  Heavens! 

Balthazar.  (Troubled,  as  he  sinks  back  into 
his  chair)     Your  husband!     He?!     (All  rise) 

Sara.     (Looking  at  him)     Well,  what  of  it? 

Cornelius.  (Aside  to  Balthazar)  Are  you 
going  to ? 

Balthazar.  (Controlluuj  himself)  I — I — beg 
your  pardon.  Mademoiselle.    Well,  why  not  indeed? 


THE  BLACK  PEARL  19 

Sara.  {Feigning  indifference)  But  I  am  in  no 
hurry.    I  have  a  wide  field  in  which  to  choose. 

Cornelius.     Ah,  you  have  a  wide  field ? 

Sara.  I  have  at  least  many  friends ;  everyone  is 
not  like  Monsieur  Balthazar,  who  has  not  even  called 
on  me  since  I  came  into  my  fortune.  He  used  to  run 
up  those  six  flights  so  quickly,  when  Madame  Van- 
derlys  had  some  work  for  me ! 

Balthazar.  (Sadly)  Ah,  then!  But  now  I 
never  go  out. 

Cornelius.    No,  he  never  goes  out. 

Sara.  (To  Balthazar)  But,  I  saw  you  last 
Sunday.  You  looked  in  the  other  direction — as 
if  you  had  not  seen  me. 

Cornelius.  (Thrusting  Balthazar  forivard) 
Answer  that ! 

Balthazar.  You  see,  you  were  surrounded  by 
six  gentlemen,  who  appeared  so  interested  and  gal- 
lant  

Sara.     Well,  Monsieur  Balthazar? 

Balthazar.  Well,  Mademoiselle,  I  don't  know 
anything  about  fine  manners.  I'm  a  perfect  bear, 
and  the  sight  of  a  well  dressed  lady,  even  you 

Cornelius.  Don't  listen  to  him,  Mademoiselle, 
he  doesn't  know  what  he  is  saying !  He  was  most 
anxious  to  see  you. 

Balthazar.    I  ? 

Cornelius.  Yes,  you  were.  We  dined  together 
afterward,  and  you  were  so  sad.  You  sighed  the 
whole  time. 

Sara.     Why? 

Cornelius.  Why?  Don't  you  guess?  Because, 
Mademoiselle,  you  are  rich 

Balthazar.     (Trying  to  stop  him)     Cornelius! 

Cornelius.  (Speaking  more  loudly)  Because 
your  fortunes  are  so  unequal,  because  he  loves  you, 
Mademoiselle — he  adores  you  ! 

Balthazar.     Cornelius — please ! 


20  THE  BLACK  PEARL 

Cornelius.  {Cont'uuiing  as  before)  I  say  he 
adores  you!  {Aside  to  Balthazar)  Don't  deny 
it,  /  am  proposing  for  you ! 

.Sara.  {Quietly)  Your  scruples  do  you  great 
credit. 

Cornelius.  {Pointing  to  Balthazar)  He  is 
very  conscientious. 

Sara.  Since  I  came  into  my  fortune,  I  see  so 
many  people  v.ho  adore  me,  that  I  really  don't 
know  what  to  do  or  whom  to  believe.  I  should 
prefer  to  throw  all  my  money  into  the  Amstel  than 
marry  a  man  who  wanted  me  for  it's  sake. 

Balthazar.  {To  Cornelius)  You  see?  I 
was  right. 

Cornelius.     {To  Sar.\)     Do  you  imagine ? 

Sara.    Would  you  like  to  know  my  ideal  ? 

Cornelius.    Yes. 

Sara.  HI  knew  a  man  who  had  loved  me  while 
I  was  poor — well,  I  shouldn't  think  of  suspecting 
him.  I  should  be  sure  of  his  affection — and  he  of 
mine. 

Cornelius.  {Quickly,  indicating  Balthazar) 
There  he  is,  Mademoiselle,  a  man  who  has  loved 
you  for  the  past  six  years  ! 

Sara.    Possibly.    Yes — a  little. 

Balthazar.    A  little  !    There,  you  see  ! 

Cornelius.  Keep  still.  I  maintain  that  you 
loved  her,  and  if  you  would  like  proofs 

Sara.  I  should  like  to  see  only  one — just  a  little 
one. 

Cornelius.    A  little  one  ? 

Sara.  {Crossing  in  front  of  him)  Yes.  Do 
you  remember,  Monsieur  Balthazar,  the  morning  I 
was  working  here,  when  they  brought  flowers  for  the 
garden? 

Balthazar.     I  should  think  I  do ! 

Sara.  They  were  orchids.  I  was  allowed  to 
inspect  them   with  you.     There   were   all   sorts — 


THE  BLACK  PEARL  21 

some  so  queer !  One  looked  like  a  wasp,  another 
like  a  butterfly.  But  one  especially  stood  out  above 
all  the  rest ;  red  inside  with  two  blue  wings — and 
the  red  was  so  charming  with  that  tint  of  blue — I 
never  saw  a  prettier  flower.     And  then 

Balthazar.  And  then — let  me  finish,  Made- 
moiselle— then,  when  we  were  leaning  over  to  look 
at  it  more  closely,  I  don't  kow  how  it  happened, 
but  your  hair  brushed  again.st  my  face,  and  as  you 
quickly  drew  back,  your  hand,  which  held  the  flower 
so  that  you  might  look  at  it  more  closely,  broke 
the  stem 

Sara.    Yes. 

Balthazar.  I  can  still  hear  you  scream.  I  see 
you  now — you  were  ready  to  cry  and  ask  my  par- 
don, when  my  mother  called  you  from  the  window, 
and  I 

Sara     And  you ? 

Balthazar.  I  stayed  behind  and  picked  up  the 
flower. 

Sara.     (Joyfully)     Did  you? 

Balthazar.  And  kept  it,  to  remember  that  one 
moment  of  happiness — that  sweet  second ! 

Sara.     And  you  kept  it  all  this  time? 

Balthazar.  As  the  most  precious  of  posses- 
sions, in  a  little  locket,  which  I  shall  show  you 

Sara.  Do — that  is  all  I  want  to  know.  I  am  so 
happy!  If  you  have  kept  that  flower  to  remember 
me,  it  means  you  loved  me  then.  If  you  have  kept  it, 
then  your  love  has  lasted. 

Balthazar.    It  has. 

Sara.  Go  and  get  our  little  flower  with  the  blue 
wings.  It  will  be  the  prettiest  of  our  wedding  pres- 
ents. 

Balthazar.  (Radiantly,  as  he  goes  to  Cor- 
nelius) Our  wed — our  wedding  presents — do  you 
hear  that,  Cornelius?  She  said:  "our  wedding 
presents." 


22  THE  BLACK  PEARL 

Cornelius.  She  did.  {^A  carnage  is  heard  out- 
side ) 

Balthazar.  Ah,  Sara !  Now  I  can  tell  you 
frankly :  I  love  you     You  will  believe  me  now. 

Sara.  Truly,  I  suspected  it  a  little,  otherwise  I 
should  not  have  come  here ! 

Balthazar.     Now  I  am  going  to  get  our  flower. 

Cornelius.  {Up-stagc)  Quick,  now.  Yovir 
uncle  is  coming  up  the  steps ! 

Sara,  Not  a  word  before  him!  I'll  prepare  him 
for  the  news ! 

Cornelius.  (Aside)  Yes,  spare  him  any 
"  emotional  strain." 

Sara..  (To  Balthazar)  To-morrow — at  my 
home — our  home  ! 

Balthazar.     To-morrow — and  forever  ! 

Sara.     Bring  the  flower  ! 

Balthazar.  I  shall.  Yes,  yes.  (They  con- 
tinue to  speak  in  ivhispers) 

(Cornelius  opens  the  door  and  coughs  to  tuarn 
the  couple  of  the  presence  of  Vanderven,  who 
enters.    It  is  beginning  to  grow  dark.) 

\''anderven.     How  are  you  now? 

Cornelius.  (Hiding  the  lovers)  Better. 
(Aside)     Have  a  pleasant  walk  ? 

Vanderven.  Oh,  yes.  I  feel  better.  The  car- 
riage is  ready,  my  dear.     Come. 

(Cornelius  coughs.) 

Sara.  (Risi)ig  slozvly  and  going  to  her  uncle) 
Here's  Uncle !    Oh,  1  feel  much  better. 

Vanderven.     It  couldn't  have  been  very  serious! 

Balthazar.  May  T  hear  how  you  are  getting  on 
to-morrow,  Mademoiselle  ? 


THE  BLACK  PEARL  23 

Sara.  Of  course,  Monsieur !  Come,  Uncle. 
(She  goes  out) 

Vanderven.  Yes,  come  and  see  us.  I'll  show 
you  my  pictures. 

Cornelius.  (Urging  Balthazar  in  the  direc- 
tion of  Sara,  7vJio  is  seen  in  the  antechamber.  He 
detains  Vanderven)     So  you  are  a  collector? 

Vanderven  Oh,  no.  I  don't  know  much  about 
pictures — otherwise  I  should  be  an  enthusiast. 

Cornelius.  {Botving  to  Vanderven)  Good 
day.     (Vanderven  goes  out) 

Balthazar.  {Stopping  Cornelius,  zvho  is 
about  to  shut  the  door)     Let  me  see  her  once  more. 

Cornelius.  {Trying  to  stop  him  from  leaving) 
Look,  look,  happy  mortal!  {The  outer  door  is 
heard  to  close) 

Balthazar  {Coming  dozvn-stage  as  Corneius 
closes  the  inner  door)  My  dear,  dear  friend,  how 
profoundly  thankful  I  am! 

Cornelius.  Holy  Saints  of  Pnradise!  Two 
weddings  at  a  single  blow  ! 

Balthazar.    Hush — remember  Christiane  ! 

Cornelius.  That's  so.  Come  now,  show  me 
your  flower  with  the  blue  wings. 

Balthazar.  It's  carefully  pressed — at  the  bot- 
tom of  a  drawer  in  my  desk,  in  a  little  steel  box,  to- 
gether with  my  poor  mother's  pearls.  It's  in  a 
locket  of  glass  and  gold  with  a  frame  of  black 
pearls.  You'll  see.  Where  did  I  put  the  key? 
{He  searches  his  pockets)  Light  a  candle — it's 
so  dark.  (Balthazar  goes  up-stage,  looking  for 
the  key  in  his  overcoat  pocket.  Cornelius  goes  to- 
ward the  fireplace  to  light  a  candle) 

{Enter  Chrlstiane,  from  her  room.) 

Christiane.  {Entering  so  quietly  that  she  is 
not  noticed)      Still  here!     I  can't  go  out.      {She 


24  THE  BLACK  PEARL 

looks  toz^'ard  the  zuindozi'  through  zvhich  she  catches 
sight  of  a  man  zvearing  a  cape  and  a  large  hat) 

Cornelius.  {At  the  fireplace)  Where  the 
devil  are  the  matches? 

Balthazar.     To  your  right. 

Cornelius.     Ah,  yes. 

Christiane.  He's  there.  {She  crosses  to  the 
cupboard,  zvhcre  she  takes  the  small  package,  zuiiilc 
Balthazar  opens  the  door  to  his  room  and  Cor- 
nelius lights  the  candle.  She  opens  the  zvindozjiK 
The  shadozv  of  a  man  is  seoi.  She  gives  the  pack- 
age to  the  man)  Here,  take  it!  Quick.  I'm  com- 
ing out  at  once!  {SJie  closes  tlie  zvindozv  quietly, 
then  makes  her  z^.'ay  stealthily  to  Gudule's  stairzvay. 
and  disappears) 

Balthazar.     (To  Cornelius)     Light! 

Cornelius.  {Carrying  a  candle  in  front  of 
zvhich  he  places  liis  hand)  I'm  coming,  I'm  coming. 
I'm  behind  you. 

Blthazar.     (In  his  office)     Oh,  CorneHus! 

Cornelius.     {Stopping)     What's  the  matter? 

Balthazar.  Cornohus !  CorneHus!  {He  re- 
appears on  the  threshold,  pale  and  trembling) 

Cornelius.    Well? 

Balthazar.  Good  Heavens,  Cornelius  !  There's 
been  a  robbery ! 

Cornelius.  {Dropping  Jiis  candle)  Rob- 
bery ! 

Balthazar.  Everything — stolen!  {Each  tries 
to  find  a  light,  zvJiile  the  carta iii  falls) 


ACT  II 


Balthazar's  study.  To  the  spectator's  right  is  a 
fireplace,  to  the  left  a  barred  zvindozv.  Farther 
upstage    is   a   door   opening   upon    the   room 


THE  BLACK  PEARL  25 

shown  in  the  first  act.  At  the  back,  a  book- 
case. Halfzvay  upstage  on  the  right  is  a 
desk;  betxveen  the  desk  and  the  book-case  is  a 
filing  cabinet,  zi'ith  a  dozen  files  in  it.  There  is 
a  table  to  the  left,  by  the  zuindozv.  There  are 
chairs,  arm-chairs,  etc.  about  the  room.  The 
room  is  panelled  in  zvood  to  a  height  of  about 
six  feet.  The  remainder  of  the  zvalls  are 
covered  zvith  leather-colored  zvallpapcr.  There 
is  a  large  arm-chair  to  the  right. 

As  the  curtain  rises  the  study  is  in  great  dis- 
order. The  tzvo  files  zvhich  belong  to  the  top 
part  of  the  cabinet  are  lying  on  the  fioor, 
crushed,  and  oil  the  papers  scattered  about  the 
room.  On  the  table  a  large  leather  portfolio 
has  been  tipped  over,  the  lock  broken  open,  and 
the  numerous  letters  it  contained  throzvn  about 
over  the  floor.  The  desk  appears  to  have  been 
forced  open.  All  about  the  lock  the  zvood  is 
scratched  and  bruised.  The  lock  itself  hangs 
in  the  air.  The  coz'cr  is  so  zvrenched  off  that 
the  interior  of  the  desk  is  visible  to  the 
audience:  two  of  the  drazvers  have  been  pulled 
out  of  place.  Above  the  desk  and  the  panel- 
Zi'ork,  a  Persian  dagger  is  fixed  in  the  zvall. 
On  the  ceiling  the  steel  zvire,  once  attached  to 
the  door-bell,  and  running  from  the  zvall  to  the 
right  of  the  door,  is  broken  at  a  point  just 
above  the  desk;  the  longer  of  the  broken  pieces, 
the  one  attached  to  the  bell-cord,  is  tzvisted  at 
tli  end  into  the  form  of  a  ring. 

Balthazar  and  Cornelius,  each  carrying 
a  candle,  look  on  stupefied.  On  the  floor  is  a 
small  steel  box,  zvhich  is  closed. 

Cornelius.    Heavens,  who  has  done  this? 
Balthazar.      (Runninq  about  the  room,  exam- 


26  THE  BLACK  PEARL 

ining  various  objects)  The  portfolio!  And  the 
cabinet !     And  the  desk  ! 

Cornelius.     Any  money  gone? 

Balthazar.  Three  hundred  florins,  fifteen  hun- 
dred ducats — not  a  trace — everything — and  the 
jewel-box,  too ! 

Cornelius.  (Excitedly)  Is  this  it?  [He  picks 
up  the  little  box) 

Balthazar.  (Opeiiiiitj  it)  Empty!  Not  even 
the  locket ! 

Cornelius.    The  locket  gone,  too? 

Balthazar.  Aly  locket!  (He  goes  to  (lie 
wiiidozv  and  cries  out)     Thieves,  thieves  I 

Cornelius.     Don't  do  that. 

Balthazar.  They  have  taken  my  locket  and  my 
flower !     Why  should  I  not  shout  ? 

Cornelius.  (Trying  to  calm  him)  Come,  now, 
this  is  childish ! 

Balthazar.  (Excitedly)  The  money  and  all 
the  rest  is  nothing  to  me — I  want  the  locket !  It 
means  everything  to  me — my  marriage !  I  can't 
even  see  Sara :  she  might  think  I  had  been  trying 
to  deceive  her ! 

Cornelius.     Listen  to  me 

Balthazar.  No,  no,  no,  the  Burgomaster, 
Tricamp,  lives  just  across  the  street.  I'm  going  to 
tell  him  at  once!  (At  the  ivindozv)  Monsieur 
Tricamp — come  here — we've  been  robbed  ! 

Tricamp.  (Whose  7'oice  is  heard  outside) 
Yes?    Monsieur,  you  do  make  a  lot  of  noise! 

Balthazar.  Ah,  Monsieur  Tricamp,  are  you 
in  the  street  there  ?    Heaven  has  sent  you 

Tricamp.  Possibly.  I'm  just  returning  from  a 
hall.     What's  the  matter? 

IjAltitazar.  I've  been  robbed.  Monsieur  Tri- 
camp. Someone's  gone  through  my  room,  my  desk, 
everything.     Come  here  and  see  for  yourself. 


THE  BLACK  PEARL  27 

Tricamp.  The  devil !  I'll  be  with  you,  only  give 
nie  time  to  change  these  clothes. 

Balthazar.  No,  no,  Monsieur.  At  once, 
please ! 

Tricamp.  You  will  at  least  allow  me  to  escort 
home  the  charming  lady  I  now  have  with  me? 
(^  knocker  is  heard) 

Balthazar.     But,  Monsieur 

Tricamp.  T  shan't  be  long — meantime  here  are 
three  officers  at  hand.  They  have  heard  you.  Now, 
open  your  door. 

Balthazar.  At  once.  (He  goes  out  of  the 
back.  Cornelius  walks  about  the  room,  examin- 
ing its  contents) 

Tricamp.  (Outside)  My  dear  Madame,  I  bid 
you  good-night ! 

The  Lady's  Voice.  Good-night,  Monsieur  Tri- 
camp. 

Tricamp.     My  thoughts  shall  be  of  you. 

Balthazar.      (Outside)     This  way,  Monsieur. 

Tric.vmp.     (Outside)     Very  well,  very  well. 

Cornelius.  (Surveying  the  ruin)  Who,  I 
wonder — who  could  have  done  it? 

(Enter  Balthazar  followed  by  Tricamp.) 

Balthazar.    This  way,  Monsieur. 

Tricamp.  (Speaking  to  the  Officers  outside, 
who  immediately  afterward  appear  at  the  door) 
You  stay  there  and  stop  anyone  who  tries  to  come 
in  or  leave.  (He  comes  forzvard,  smiling.  He  is 
dressed  in  evening  clothes)  This  is  a  pretty  how 
d'ye  do !  Dance  all  evening,  bring  home  a  pretty 
woman,  and  just  as  you  are  saying  good-night ! 

Balthazar.  (Lighting  another  candle)  Look, 
Monsieur,  look. 

Tricamp.     Ah,  so  here  is — I  beg  your  pardon, 


28  THE  BLACK  PEARL 

I'm  a  little  short-siqhted  !  (He  looks  through  his 
lorgnette) 

Balthazar.     And  here.  Monsieur  ! 

Cornelius.    And  there ! 

Balthazar.    And  this  desk  ! 

Cornelius.    And  the  portfolio  full  of  letters ! 

Balthazar.    The  files ! 

Tricamp.  (SmiUngly,  tlirongh  his  lorgnette) 
Fancy  that !     Good  ! 

Balthazar.  And  we  heard  nothing.  Monsieur, 
saw  nothing ! 

Tricamp.  Desk-lock  forced— and  the  port- 
folio !     Splendid ! 

Balthazar.     Splendid  ? 

Tricat^ip.     The  money  was  taken,  was  it? 

Balthazar.     All. 

Tricamp.     Good! 

Cornelius.     And  the  jewels. 

Balthazar.     And  my  locket ! 

Tricamp.  Bravo!  House  entered — robbery. 
This  is  at  least  something  worth  being  disturbed 
about.  (Cornelius  and  Balthazar  look  at  each 
other  in  amascvnent)     Do  you  suspect  anyone? 

Balthazar.     No  one. 

Tricamp.  So  much  the  better.  We  shall  have 
the  pleasure  of  making  the  discovery.  {Looking 
about  through  his  lorgnette)  I  had  a  charm- 
ing time  at  the  Embassy  Ball — lovely  lady  I  was 
with — do  you  know  her — eh?  Well,  this  is  going 
to  be  a  very  interesting  and  amusing  little  case:  it 
is  so  exciting  to  catch  a  thief ! 

Cornelius.    When  you  catch  him  at  once — yes ! 

Tricamp.  If  he  is  caught  at  once  that  spoils  all 
the  fun.  Just  like  himting!  (To  Balthazar) 
Do  you  hunt? 

Balthazar.    Yes — no — I  don't  know- — but  you — 

Tricamp.  Oh,  yes,  I  still  hunt  occasionally. 
{He  goes  to  the  door) 


THE  BLACK  PEARL  29 

Balthazar.  {To  Cornelius)  That  man  will 
drive  me  mad ! 

Cornelius.  {Aside  to  Balthazar)  Let  him 
be.    As  a  scientist,  I  respect  system. 

Tricamp.     Is  this  the  door? 

Baltiiazar.  The  onl\  door,  Monsieur.  Mark 
that ! 

Tricamp.  {Turning  the  key  in  the  lock)  Nice 
lock.     Intact,  I  see.     You  carry  the  key  with  you? 

Balthazar.     Always,  Monsieur. 

Tricamp.  It  isn't  probable  that  the  thief  had  a 
duplicate.  No,  there's  no  damage  done  to  the  lock. 
He  didn't  come  in  this  way.  Let  us  look  at  the 
window. 

Cornelius.  The  window  was  closed.  Monsieur. 
My  friend  just  opened  it  to  call  you. 

Tricamp.     There  are  bars  utside,  are  there  not? 

Balthazar.  {Illuminating  the  zvindozv  zvith  a 
candle)  See  how  near  together  the  bars  are.  A 
child  couldn't  come  in  that  way  ! 

Tricamp.    Well,  let  us  look  at  the  fireplace. 

Balthazar.  {Lighting  the  zvay)  Here,  Mon- 
sieur. 

Tricamp.  {Kneeling  before  the  fireplace,  and 
tapping  on  the  inside)     What  is  that? 

Balthazar.  A  hole  I  had  made  last  winter,  for 
the  stovepipe. 

Tricamp.     Is  that  hole  the  only  one? 

Balthazar.     As  you  can  see ! 

Cornelius.     No  larger  than  that ! 

Tricamp.  {Still  on  his  knees)  Very  well.  The 
thief  didn't  come  in  there. 

Cornelius.  {Going  to  another  corner  of  the 
fireplace)  Well,  if  he  didn't  come  through  the 
chimney,  or  the  window,  or  the  door,  where  did 
he  come  in? 

Tricamp.  That's  just  the  point.  Monsieur.  If 
thieves  came  into  rooms  the  way  ordinary  people 


30  THE  BLACK  PEARL 

do,  there  would  be  no  pleasure  in  the  business. 
There  now  remains  the  ceiling.     {He  stands  up) 

Balthazar.  {Raising  tJic  candle  and  lighting 
the  entire  room)     Do  you  think  he  could  have ? 

Tricamp.     {Looking  at  the  dagger  which  is  seen 

sticking  into  the  i^'all)     What's  that  shining ? 

A  knife ! 

Cornelius.  So  it  is!  {Thc\  go  toward  the 
wall) 

Balthazar.  An  Oriental  dagger  that  usually 
lay  on  the  desk. 

Tricamp.  We're  getting  warm.  Now.  up  there, 
don't  I  see  something  hanging  in  the  air? 

Cornelius.    Yes,  a  wire  ! 

Balthazar.    The  bell  wire. 

Tricamp.  Warmer  and  w^armer.  Is  your  desk 
solid? 

Balthazar.     What  ? 

Tricamp.  {Jumping  on  a  chair,  then  to  the  top 
of  the  desk)    A  panel?     {He  taps  on  the  panel) 

Balthazar.     It's  very  thin. 

Tricamp.  Would  you  like  to  know  where  your 
thief  entered?  Here.  Look!  {He  takes  off  a 
piece  of  the  Tvall  with  a  rule  and  reveals  a  square 
hole,  large  enough  to  admit  a  man)  Here  is  the 
door. 

Balthazar   and   Cornelius.     Ah — I 

Balthazar.     I'd  forgotten  all  about  that. 

Tricamp.  See,  this  piece  of  panel  has  been  very 
skillfully  replaced.  Perfect!  {He  sits  doivn  on  the 
top  of  the  desk)  That  reminds  me  of  a  time  in 
Ghent — I  was  only  twenty — let  me  tell  you — very 
funny 

Balthazar.    Yes,  yes,  but  how  about ? 

Tricamp.  It's  really  too  simple.  Your  thief 
came  in  that  way.  He  broke  the  wire  in  order  to 
let  himself  down  by  it.  Notice  that.  Then  he  de- 
scended to  the   desk,   where   I   am   now   standing. 


THE  BLACK  PEARL  31 

Here  he  took  the  dagger,  fixed  it  in  the  wall,  and 
used  it  as  a  foot-rest.     Primitive  indeed ! 

Balthazar.    Yes.    But  what  about  the  files? 

Tricamp.  There  seems  to  be  no  reason  for  that, 
except  he  may  have  fallen  on  them.  Now  follow 
me  closely :  vvdiile  his  right  foot  rested  on  the  dagger 
hilt,  the  left  found  a  footing  on  the  filing-cabinet, 
(He  puts  his  left  foot  on  the  cabinet)  which  fell 
over.  Isn't  that  reasonable?  (He  stretches  his 
hand  out  to  Cornelius,  -c.'ho  assists  him  down) 

Balthazar.  Nothing  escapes  you.  Monsieur. 
Yon  are  wonderful ! 

Cornelius.     Nothing  except  the  thief  ! 

Tricamp.    And  we  shall  have  him  soon. 

Balthazar.     Soon  ? 

Tricamp.  You  don't  know  how  to  enjoy  it  all. 
I  like  to  think  of  him  trying  to  escape.  Let  him 
try,  sa}'  I !  Now  we  must  know  something  about 
his  temperament. 

Balthazar.    His  temperament? 

Tricamp.     Exactly. 

Balthazar.     But  have  we  time?    Musn't  we — ? 

Tricamp.  We  can't  do  better.  Sit  down.  Now. 
the  application  of  certain  principles,  which  are  well 
known — Please  sit  down.  Monsieur.  (Balthazar 
umcillingly  sits  down)  How  can  we  possibly  find 
the  reason  for  the  crime  if  we  fail  to  inquire  into 
the  nature  of  those  to  whom  crime  is  natural?  The 
manner — hasty  or  deliberate — in  which  this  was 
committed — that  is  where  we  are  to  look  to  find  the 
finger-marks,  the  very  signature  of  our  thief. 

Balthazar.     For  Heaven's  sake,  let  us  begin ! 

Tricamp.  {Phlegmatic ally)  Why,  only  yes- 
terday morning  two  women  were  brought  to  me — 
Pm  a  great  connoisseur  in  women.  They  were  ser- 
vants, suspected  of  stealing  a  shawl  from  their 
mistress.  I  knew  the  guilty  one  in  an  instant.  The 
thief  had  to  choose  between  two  cashmeres,  a  blue 


32  THE  BLACK  PEARL 

and  a  yellow :  she  took  the  bhie.  Now,  one  of  the 
servants  was  a  blond  and  the  other  a  brunette. 
I  arrested  the  blonde.  The  brunette  would  evi- 
dently have  taken  the  yellow  one. 

Cornelius.    A  Solomon ! 

Balthazar.  Please,  Monsieur,  let  us  get  to 
work ! 

Tricamp.  I  can  tell  you  this  much  already:  the 
thief  is  new  to  the  business.  Look  at  this  desk:  it 
has  been  violently  thrust  open— and  look  at  the 
debris  scattered  everywhere.  And  this  hanging 
lock 

Balthazar.     So  it  was  a  novice? 

Tricamp.  Yes:  who  is  neither  large  nor  strong, 
for  he  needed  the  wire  and  the  dagger  to  help  him 
descend.    An  average  man  could  easily  have  jumped. 

Cornelius.    But  the  desk  is  very  strong? 

Tricamp.  That  again  reveals  the  weakness  of 
the  thief.  Real  strength  is  calm,  sure  of  itself. 
One  stroke  would  be  sufficient.  This  is  the  work  of 
a  weakling — a  woman  or  a  child. 

Balthazar.     A  woman  ? 

Tricamp.  I  was  sure  of  that  ten  minutes  ago. 
She  is  young  and  supple.  Short,  too,  for  she  had  to 
scale  the  wall — a  brunette,  rather  quick  and  ner- 
vous. She  knows  the  house,  for  she  took  advant- 
age of  your  absence.  If  you  have  some  young 
Vi'oman  here — a  servant  perhaps— don't  look  else- 
where :  she  is  your  thief. 

Balthazar  and  Cornelius.     Christiane  ! 

Tricamp.     Christiane?    Well,  it's  she! 

Cornelius.  Christiane?  Nonsense,  Monsieur. 
She — she — no,  that's  out  of  the  question  ! 

Balthazar.  He  is  right.  Monsieur.  .She  was 
brought  up  here  as  one  of  the  family — she's  al- 
most a  sister ! 

Cornelius.  You  don't  know  her.  Monsieur. 
You  wouldn't  think  of  accusing  that  child  ! 


THE  BLACK  PEARL  33 

Tricamp.  Will  you  wager  with  me,  Monsieur, 
that  she  is  at  present  not  in  her  room? 

Cornelius.     Not  in  her  room? 

Balthazar.  That  is  her  room.  (He  points  to- 
tvurd  the  panel  in  the  ivall) 

Tricamp.    There?    And  do  you  still  doubt? 

Cornelius.  {Running  to  the  panel  and  shout- 
ing)    Christiane  !    Christiane  !     {A  pause) 

Tricamp.  You  see,  she  is  not  there!  (He  sits 
dozun ) 

Cornelius.  I  shall  bring  her  to  you,  and  you 
won't  dare  accuse  her  to  her  face. 

(Christiane  appears  on  the  threshold,  followed  by 
tivo  Officers.) 

Balthazar.     There  she  is  ! 

Cornelius.     See,  she  is  not  trying  to  escape ! 

(Enter  Christiane  and  the  Officers.) 

First  Officer.  Monsieur,  here's  a  young 
woman  we  arrested  as  she  was  trying  to  leave  the 
house. 

Cornelius  and  Balthazar.     Leave? 

Christiane.  (Quietly,  after  having  seen 
Tricamp)  What  do  they  want  with  me?  Mon- 
sieur Balthazar,  tell  Monsieur  who  I  am. 

Balthazar.    Where  did  you  come  from? 

Christiane.  From  up-stairs :  Gudule  was  so 
afraid  of  the  storm.  She's  asleep  now.  I  went  to 
sleep  in  the  chair  beside  her,  then  I  went  down- 
stairs to  fix  the  locks. 

Tricamp.     To  escape. 

Christiane.  Escape?  Escape?  How  do  you 
mean? 

Tricamp.     She  is  calm  about  it! 


34  THE  BLACK  PEARL 

Balthazar.  {Taking  Christiane's  hand  and 
drazving  her  toward  the  desk)     Look. 

Christiane.  {Turning  around  after  having 
looked  at  the  lock)     Heavens,  who  did  it? 

Tricamp.     {Smiling)     You! 

Christiane.  {Looking  at  thcni  zvith  an  air  of 
stupefaction,  then  turning  to  the  Officers  as  she 
screams)  You  say  I  did  that?  {She  looks  at 
Balthazar,  zvho  turns  his  head  azvay.  She  then 
tries  to  find  words,  hut  chokes)  I — I — stole — did 
that — !?     {She  falls  into  Cornelius'  arms) 

Cornelius.  I  tell  you  the  child  knows  nothing 
about  it ! 

Curtain 


ACT  HI 

Scene:  Christiane's  room.  Dozvn-stage  to  the 
right  is  a  zvindozv.  To  the  left  of  it,  a  bell, 
ffolf-zvay  dozvn-stage  on  the  same  side  is  a 
door.  At  the  back,  an  alcove  in  zvJiich  is  a  bed. 
Dozvn-stage  to  the  left  is  a  fireplace.  Half- 
zvay  tip-stage  on  the  same  side  is  a  bureau,  one 
drazver  of  zvhich  is  open.  Above  it  in  the  wall 
is  the  small  passage-zvay  zvhich  leads  to 
Balthazar's  office.  Betzveen  the  door  and 
the  windozv  are  a  table  and  chair.  To  the 
left  is  another  chair.  Still  another  at  the  back, 
by  the  bed.    It  is  night. 

{Enter  the  tzvo  Officers,  follozvd  by  Tricamp.) 

First  Officer.     {Carrying  a  candle)     Monsieur, 
this  is  Mademoiselle's  room. 

Tricamp.    I  can't  get  a  word  out  of  her.    Well, 


THE  BLACK  PEARL  35 

let  her  cry.  You  two  are  to  stand  just  outside  in 
the  street,  understand? 

Second  Officer.     Yes,  Monsieur. 

Tricamp.     And  everything  you  see 

First  Officer.  With  your  permission.  Mon- 
sieur, I  have  something  to  report  now. 

Tricamp.    Yes? 

First  Officer.  The  baker  opposite  tells  me  that 
early  in  the  evening  he  saw  Mademoiselle  Christiane 
at  the  window  of  the  large  room.  She  slipped 
a  package  to  a  man  who  wore  a  cape  and  a 
large  hat.  He  didn't  see  the  face.  She  called  out 
to  the  man,  "  Wait  for  me !  "  Then  she  closed  the 
window,  and  the  man  went  off.  That  was  two 
minutes  before  Monsieur  Cornelius  cried.  "  Stop 
thief !  " 

Tricamp.  Good!  (To  tlic  Second  Officer) 
Take  the  witness's  name,  and  keep  a  good  watch 
aliout  the  house.  The  first  suspicious-looking  in- 
dividual who  comes 

Second  Officer.  Arrest  him !  You  may  count 
on  us,  Monsieur.     {He  goes  out) 

Tricamp.  You,  Brauwer,  get  Gudule  and  bring 
her  to  me.  She  is  sleeping  on  the  second  floor. 
Knock  loudly — she  is  said  to  be  deaf. 

P'iRST  Officer.  At  once.  Monsieur  (He  goes 
out) 

Tricamp.     Everything  is  going  splendidly ! 

(Enter  Balthazar.) 

Tricamp.    Well,  how  about  the  young  lady? 

Balthazar.  The  same.  Cornelius  is  trying  to 
comfort  her.     She  does  nothing  but  sob. 

Tricamp.  Which  she  will  continue  to  do  for  the 
next  twenty  minutes.  (He  looks  at  his  watch)  It 
is  now  two  A.  AL  At  two-thirty  the  reaction  will 
set  in:  she  will  confess  everything.     Then  will  be 


36  THE  BLACK  PEARL 

the  time  to  ask  questions.  I  know  women,  I  have 
devoted  a  great  deal  of  time  to  the  subject. 

Balthazar.  And  do  you  think  Christiane  will 
confess  ? 

Tricamt.     I  am  positive. 

Balthazar.     Impossible ! 

Tkicamp.  We  shall  see.  This  is  her  room,  is  it 
not? 

Balthazar.     Yes,  Monsieur. 

Tricamp.  You  see,  I  was  not  wrong.  The  bed 
has  not  been  slept  in. 

Balthazar.      True,   but   then    I   can't   think 

Tricamp.  {Taking  a  chair  and  placing  it  on  top 
of  tJic  bnrcau)     We  must  think  everything. 

Balthazar.     But  if  you  are  mi.staken 

TricatvIP.  That  is  one  thing  we  can  not  think. 
Notice  this  chair — how  easy  it  would  be  to 

Balthazar.  No,  I  don't  want  to  see.  Cornelius 
is  right  in  defending  her.  You  don't  know  how  up- 
right, how  honest  she  is !  The  poor  little  girl — my 
mother  found  her  in  a  church !  {He  stops  a 
moment,  struck  ivith  an  idea)  I\Iy  God!  That's 
so !     She  stole  then ! 

Tricamp.  {Who  has  been  looking  at  the  bureau 
drawer)  Didn't  you  say  something  about  jewels 
and  a  locket? 

Balthazar.  Yes,  a  locket,  which  is  very  prec- 
ious to  me. 

Tricamp.    Gold? 

Balthazar.  Yes,  with  black  pearls  around  the 
edge. 

Tricamp.  {Holding  out  a  pearl  to  him)  Like 
this? 

Baltil\zar.     a  pearl !     A  black  pearl ! 

Tricamp.  {Putting  it  on  the  floor  and  hammer- 
ing it  zvith  his  heel)  It  must  be  bronze!  Where 
does  Mademoiselle  Christiane  get  these  things? 

Balthazar.     Where  did  you  find  it? 


THE  BLACK  PEARL  37 

Tricamp.  (Pointing  to  tJie  drazver)  There. 
Thai;  is  how  she  came  down. 

Balthazar.  But  the  locket?  {He  goes  to  the 
bureau) 

Tricamp.  No,  this  single  pearl  is  all  there  was! 
You  will  find  nothing  else.  She  made  up  a  package 
of  everything  else  and  gave  it  to  an  accomplice — 
out  of  the  window.     He  was  seen. 

Balthazar.     Seen? 

Tricamp.     (Looking  at  his  zvatch)     Yes. 

Balthazar.  (Desperately)  You — you  are  right 
— we  must  believe  everything  now ! 

(Enter  Cornelius.) 

Tricamp.     (To  Cornelius)  Well? 

Cornelius.     Nothing. 

Tricamp.     Is  she  alone? 

Cornelius.  No,  one  of  the  officers  is  with  her. 
I  want  to  hear  what  Gudule  has  to  ^ay. 

Tricamp.  Does  a  scientist  like  Monsieur  still 
doubt  ? 

Cornelius.     Certainly. 

Balthazar.    You  are  feverish. 

Cornelius.     Let  us  hear  what  Gudule  will  say. 

Tricamp.     She  is  coming  now. 

(Enter  Gudule.) 

First  Officer.     (At  the  back)     Come,  this  way. 

Gudule.  Oh,  dear,  what's  the  trouble  now  ?  I 
was  waked  up  so  suddenly.  What  do  they  want 
with  me?  (Tricamp  motions  to  the  Officer,  who 
goes  out) 

Balthazar.  Now,  Gudule,  don't  worry.  This 
needn't  trouble  you.     There  has  been  a  robbery. 

Gudule.     A  robbery? 

Balthazar.    Yes. 


38  THE  BLACK  PEARL 

Tricamp.  (Sitting  on  a  chair,  left)  Yes,  and 
we  are  now  looking  for  the  guilty  party. 

GuDULE.  Oh,  Lord,  I've  been  working  here  for 
thirty  years,  and  not  a  pin  has  ever  been  stolen ! 
Oh,  Lord ! 

Tricamp.    Come,  come,  my  good  woman 

Balthazar.    No  one  is  accusing  you. 

GuDULE.  I  should  think  not.  but  if  anything's 
been  stolen  while  I  was  in  the  house,  it's  my  fault 
all  the  same ! 

Tricamp.  That's  just  what  we  want  to  know 
about. 

Balthazar.     Speak  a  little  louder:  she  is  deaf. 

Tricamp.  That's  so.  {Raising  his  voice)  We 
want  to  know  whether  you  were  here  when  the 
robbery  occurred? 

GuDULE.     But  I  haven't  been  out,  Monsieur. 

Tricamp.    Not  at  all? 

GuDULE.  No,  Monsieur.  You  see,  I'm  old,  and 
I  can't  walk  easily.    I  was  afraid  of  the  storm. 

Balthazar.    Then  you  were  in  your  room? 

GuDULE.  No,  Monsieur,  I  couldn't  walk  up.  I 
stayed  down-stairs  all  afternoon. 

Tricamp.     Have  you  good  eyes? 

GuDULE.    Bad  ears,  Monsieur,  but  good  eyes. 

Tricamp.  Now,  think  well:  have  you  seen  any- 
one this  afternoon? 

GiJDULE.  The  postman— then  a  neighbor — and 
Petersen. 

Tricamp.     Ah,   Petersen!     Who  is  Petersen? 

GuDULE.  A  neighbor — the  night-watchman. 
Monsieur  knows  him. 

Balthazar.  A  poor  devil  we  help  once  in  a 
while. 

Tricamp.  (To  Gudule)  And  Petersen  came 
in? 

Gudule.  No,  Monsieur,  he  didn't.  He  just 
spoke  to  Christiane  through  the  window. 


THE  BLACK  PEARL  39 

Tricamp.    What  did  he  say? 

GuDULE.     I  didn't  hear,  Monsieur. 

Tricamp.    No  one  else? 

GuDULE.     No,  Monsieur. 

Tricamp.  And  where  was  Christiane  all  this 
time? 

GuDULE.  She  was  busy  in  the  kitchen  and  the 
dining-room. 

Tricamp.     Was  she  anywhere  else? 

GuDULE.  She  went  to  her  room — to  dress  for 
supper. 

Tricamp.    Was  she  here  long? 

GuDULE.     About  an  hour.  Monsieur. 

Tricamp.  Did  you  hear  anything?  A  hammer, 
for  instance? 

GuDULE.     No,  Monsieur. 

Tricamp.  Doubtless  the  thunder  was  so  loud 
you  could  hear  nothing  else? 

Gunui.E.  And  I  was  so  afraid !  Then  Christiane 
came  back — she  was  very  pale. 

Tricamp.    Ah,  pale! 

GuDULE.  Just  like  me!  The  storm  was  awful! 
(She  cries) 

Tricamp.  There,  there.  x\nd  remember,  we're 
not  accusing  you ! 

GuDULE.  Who  then  ?  Who  ?  You  don't  answer  ! 
No,  no.  Monsieur,  you  can't  think  that !  Not 
Christiane !  The  Good  Lord  sent  her  to  our  house 
— oh,  if  you  only  knew  her! 

Tricamp.  (Rising)  Since  it  isn't  you,  why 
worry  ? 

GuDiJLE.  I  wish  it  were !  Accuse  me.  please. 
But  don't  lay  a  finger  on  her !  You  wouldn't  dare ! 
That  child  is  sacred  ! 

Tricamp.  Now,  now!  {The  Officers  re- 
appear) 

GuDULE.  (To  Balathazar)  Don't  listen  to  him. 
Monsieur. 


40  THE  BLACK  PEARL 

Tricamp.     (To  the  Officers)     Take  her  away! 

GuDULE.  (As  she  is  being  earried  off)  No,  no, 
no.  this  i:;  the  end  of  everything!  I  can't  stand 
this !  I  wish  I  had  died  with  the  dear  mistress ! 
(Balthazar  helps  her  out) 

Tricamp.  You  see?  Not  a  single  suspicious 
character  came  here,  so  that  we  must  concUtde  that 
it  was  either  the  old  servant  or  the  young  lady  who 
committed  the  rob!)ery.  Will  the  scientist  draw  a 
conclusion  for  us? 

CoRXELtus.  Don't  ask  me  anything:  I.  can't 
think.  I  must  be  dreaming.  It's  all  an  awful  night- 
mare. 

Tricamp.     Isn't  my  logic  good? 

CoRNELHTS.     Unfortunately,  yes! 

Tricamp.  Then  confess  that  the  young  lady  is 
guilty. 

Cornelius.  I  refuse  to  believe  it  until  I  hear 
her  confess  it  in  so  many  words.  Why.  even  if  she 
should  confess.  I  doubt  if  I  should  believe  her 

Tricamp.  (Again  looking  at  his  watch)  Be- 
lieve whatever  you  like,  but  I  shall  question  her. 

Cornelius.  Well,  let  us  question  her,  then.  Let 
me  bring  her  here  and  defend  her.  I  shall  allow 
no  one  to  lay  hand  on  the  woman  who  is  to  become 
my  wife.     (He  goes  out) 

Tricamp.     He's  going  to  marry  her? 

Balthazar.     (With  a  sigh)     Yes! 

Tricamp.     I  see. 

(Cornelius   returns   icifh   Ciiristiane.   7-'ho   sup- 
ports herself  on  his  arm.) 

Cornelius.  Come.  Chrisliane.  I'm  here  to  hcli) 
you,  dear.     (He  conducts  her  to  a  chair  at  the  left) 

Ciiristiane.  Ah,  Monsieur  Cornelius!  (She 
sobs) 

Tricamp.     This  is  the  end  of  the  crisis.      (He 


THE  BLACK  PEARL  41 

(joes  to  the  left,  sits  do7cn  by  Christiane,  and  takes 
her  hand  in  his)  Now,  now,  my  child.  Don't  let 
me  alarm  you.  Talk  to  me:  I  promise  nothing 
will  ever  be  said  about  this.  Don't  be  ashamed. 
Who  hasn't  some  little  weakness,  eh?  Why,  it's 
quite  natural.  Tell  me,  you  just  didn't  think  twice 
about  it,  did  you?  Come,  you  did  take  the  jewels, 
didn't  you? 

Christiane.  (Sitting  up  suddenly)  Kill  me  if 
you  want  to,  but  don't  repeat  that!  (Tricamp  re- 
treats.    Cornelius  tries  to  calm  Christiane) 

Tricamp.    The  devil ! 

Balthazar.  ^lonsieur  Tricamp,  please  leave  us 
alone  with  her ;  I  know  your  presence  irritates  her. 

(Trica?.]P  goes  up-stage,  closes  the  door  as  if  he 
ivere  going  out,  then  stands  silently  at  tlie  hack.) 

Balthazar.     Now,  Christiane ! 

Christiane.    Leave  me ! 

Balthazar.     We  are  alone  now :  he  has  gone. 

Christiane.  (Rising)  He's  gone?  Well,  I 
want  to  go,  too.     Leave  me,  I  must  go ! 

Balthazar.  (Gently  forcing  her  to  sit  dozun 
again,  Cornelius  aiding  him)  You  cannot  leave, 
Christiane,  without  answering  our  questions.  Tell 
us  the  truth,  my  child.  I  forgive  you  in  advance, 
and  promise  that  no  one  shall  ever  know  a  thing 
about  it.  (Christiane  remains  silent,  and  buries 
her  face  in  her  hands)     Don't  you  hear  me? 

Christiane.    I  can't  cry  now.    Mak»  me  cry ! 

Cornelius.  (Catching  sight  of  Tricamp)  She 
seems  to  have  a  high  fever!  (To  Christiane) 
Christiane,  will  you  listen  to  me,  my  child? 

Christiane.    Yes. 

Cornelius.  Why  do  you  turn  your  head  away? 
Why  don't  you  answer?    Don't  you  recognize  me? 

Christiane.    Yes. 


42  THE  BLACK  PEARL 

Cornelius.    You  know  I  love  you. 

Christiane.  {facing  him)  And  you  say  I 
have  stolen !     (She  bursts  into  tears) 

Tricamp.     (Aside)     Good,  she  is  crying! 

Cornelius.  No,  Christiane,  I  do  not  say  that. 
My  dear  child,  don't  you  see,  you  must  help  me 
defend  you? 

Christiane.  Yes — you  are  so  good.  You  de- 
fend me !  Why  should  I  want  to  steal  ?  Would 
I,  in  this  dear  house?  I  know,  I  know,  you  accuse 
me  because  I  was  once  a  little  mite  who  was  taught 
to  steal.    Now  you  call  me  thief !     (She  cries  again) 

Cornelius.  (Rising)  I  can't  do  anything! 
You  talk  to  her,  Balthazar. 

Balthazar.  (Taking  Christiane's  hand) 
Christiane,  my  dear.  Look  at  me.  I  beg  your 
pardon  for  what  I  said.  You  do  care  for  me? 
Then  tell  me,  tell  me  where  my  little  locket  is? 
That  is  all  I  want.    Will  you  give  it  back  to  me? 

Christiane.     (In  despair)    Oh! 

Balthazar.     Christiane  I 

Christiane.  I  haven't  if!  I  haven't  it !  (She 
rises ) 

Balthazar.  (Also  rising)  Christiane,  tell  me, 
or  I'll ! 

Cornelius.      (Intervening)      Balthazar! 

Christiane.  You'll  drive  me  crazy !  (She  falls 
hack  into  the  chair,  and  buries  her  face  in  her 
hands) 

Balthazar.     We  shall  never  find  out  anything. 

Cornelius.    Because  there  is  nothing  to  find  out. 

Tricamp.  (In  an  undertone)  Ridiculous, 
allowing  ourselves  to  be  influenced  in  this  way  I 
What  did  she  say  about  when  she  was  a  little  girl? 

Balthazar.  She  was  in  a  circus — my  mother 
found  and  adopted  her. 

Tricamp.  Circus!  (Pointing  to  the  chair)  Now 
I  see! 


THE  BLACK  PEARL  43 

Cornelius.    How  is  that? 

Tricamp.  And  she  said  something  about  steal- 
ing? 

Baltpiazar.  She  was  only  five — it  was  in  a 
church,  and 

Tricamp.  The  age  makes  no  difference:  the 
germ  was  already  there.  There  is  no  room  for 
doubt  now ! 

Cornelius.     No,  there  isn't :  of  her  innocence  ! 

Tricamp.     Her  innocence? 

Cornelius.     Yes,  her  innocence  ! 

Tricamp.     The  idea!     But  what  proof — ? 

Cornelius.  I  need  no  proof !  I  have  reason, 
and  I  have  faith ! 

Tricamp.    But,  but — ! 

Cornelius.  The  look  in  her  eyes,  her  whole 
attitude — good  Lord,  that  is  enough  for  me ! 

Christiane.  (Running  to  Cornelius)  Then  I 
am  not  alone ! 

Tricamp.  (To  Balthazar)  You  see,  there  is 
nothing  to  answer!  If  the  police  used  such  reason, 
where  should  we  be? 

Cornelius.  I  don't  care  about  convincing  you. 
You  do  your  duty,  and  I  shall  do  mine. 

Balthazar.     Yours  ? 

Cornelius.  Yes :  search,  examine,  pile  up  your 
evidence ;  I  know  something  that  \x\\l  disprove 
everything ! 

Tricamp.  I  hardly  imagine  that  among  your 
proofs  you  will  refer  to  the  fact  that  I  found  some- 
thing in  Mademoiselle's  bureau? 

Christiane.     In  my  bin-eau? 

Cornelius.    What  ? 

Tricamp.  This  black  pearl,  which  came  from 
the  locket. 

Cornelius.    Do  you  hear,  Christiane? 

Christiane.     (Stirprised)     Yes. 


44  THE  BLACK  PEARL 

Cornelius.  Then  answer!  Defend  yourself  f 
Tell  them ! 

Cjiristiane.  What  can  I  say?  I  know  nothing 
about  it. 

Cornelius.     But  this  pearl — in  your  bureau? 

Christiane.    Are  you  accusing  me? 

Cornelius.     No,  no,  but 

Christiane.  Leave  me  !  (She  tkrozvs  herself  on 
to  the  bed)     Does  he  too,  think — ? 

Tricamp.  (In  an  undertone)  Monsieur 
Balthazar,  may  I  say  a  word  to  one  of  the  officers? 

Balthazar.     Certainly,  Monsieur,  let  me  go. 

Tricamp.  No,  stay  here.  I  shall  be  back  in  a 
moment.     (He  goes  out) 

Balthazar.  Poor  Cornelius  !  (Cornelius,  tc/io 
has  been  looking  intently  at  the  pearl,  stands  stock- 
still,  thinking) 

Cornelius.    Sh ! 

Balthazar.    What  is  it  ? 

Cornelius.  (Oblivious  of  Balthazar,  he  rises, 
takes  the  pearl  near  the  light,  and  looks  at  it  again) 
A  white  spot — burnt.  Good  Heavens,  it  might — ? 
The  thunderstorm!  (He  looks  at  the  opening  in 
the  zcall)    Have  you  closed  the  study  ? 

Balthazar.    Yes. 

Cornelius.  Give  me  the  key!  Quickly!  (He 
snatches  the  key  from  Balthaz.^r,  then  darts  from 
the  room) 

Balthazar.  (Startled)  Cornelius,  Cornelius! 
(He  follozvs  Cornelius  out) 

Christians.  (Running  to  the  ivindozv) 
They've  all  left  me ! — What  are  all  those  men  doing 
in  the  street? 

Tricamp.  (Voice  outside)  Good!  Stav 
there ! 

Christiane.  Oh,  he  is  coming  to — !  (She  turns 
out  the  lamp)  Here — (She  hides  behind  the  door. 
Enter  Tricamp  not  seeing  her) 


THE  BLACK  PEARL  45 

Tricamp.  Here!  (Christiaxe  slips  out) 
Where's  the  light?  (As  he  looks,  Cornelius  ap- 
pears in  the  opening  above  carrying  a  candle.  The 
room  is  lighted  tip) 

Tricamp.    Hello,  what's  that? 

Cornelius.  {Pointing  to  the  chair  on  the 
bttreaii)  I  beg  your  pardon,  Monsieur  Tricamp, 
will  you  be  good  enough  to  hold  tlie  chair  for  md ':' 

Tricamp.    Are  you  coming  down  that  way? 

Cornelius.  (In  a  state  of  quiet  excitement) 
You  see ! 

Tricamp.     What  is  your  idea? 

Cornelius.  You  may  remember,  I  asked  you  no 
questions  a  while  ago.  Please  allow  me  to  pursue 
my  own  investigations  without  interruption. 

Tricamp.  (Jokingly)  So  you  are  looking  for 
the  thief  ? 

Cornelius.     Yes. 

Tricamp.    Who  is  not  Mademoiselle? 

Cornelius.     Who  is  not  Macem'^iselle. 

Tricamp.     And  are  you  on  his  trail? 

Cornelius.  Perhaps.  (He  continues  examining 
the  passagezvay  and  the  wall) 

Tricamp.     Shall  I  help  you  now? 

Cornelius.  Thank  you,  not  yet.  Tell  me, 
though,  if  you  please,  do  you  see  the  bell? 

Tricamp.    The  bell  to  the  study? 

Cornelius.  Yes.  It  comes  through  the  panel 
in  the  wall,  in  a  tube  of  steel,  as  big  around  as  your 
little  finger.  I  should  like  to  know  if  that  bell  is  in 
this  room? 

Tricamp.  That's  easy  to  see,  it's  getting  light 
now. — Yes,  there  is  the  wire  running  along  the 
moulding,  and  there — there  is  the  bell. 

Cornelius.     Over  there? 

Tricamp.    Yes. 

Cornelius.  Do  you  notice  anything  peculiar 
about  it? 


46  THE  BLACK  PEARL 

Tricamp.     Er — yes — that's   funny! 

Cornelius.     What  ? 

Tricamp.  It's  twisted,  and  stands  upright,  like 
an  open  tulip. 

Cornelius.    Ah ! 

Tricamp.  Precaution  of  Mademoiselle's — she 
was  afraid  of  making  a  disturbance.  Pull  the  wire 
a  little. 

Cornelius.  (Pulling  from  above)  Does  it 
move  ? 

Tricamp.     No. 

Cornelius.  (Joyfully)  Then  the  spring  is 
twisted  ? 

Tricamp.  So  it  seems.  She  must  have  inserted 
a  little  piece  of  wood  in  it?  (Cornelius  jumps 
quickly  to  the  floor  and  looks  at  the  bell) 

Tricamp.     What's  the  matter? 

Cornelius.  (With  an  exclamation  of  joy  as  he 
examines  the  interior  part  of  the  bell)     Oh,  ho! 

Tricamp.    Made  a  discovery? 

Cornelius.  (At  the  fireplace,  very  excited) 
Yes! 

Tricamp.  Where  is  your  thief?  Show  him  to 
me.  He  escaped,  I  imagine,  through  the  flue?  Or 
the  door  ?     Or  the  window  ?     Eh  ? 

Cornelius.  Perhaps  the  window !  (He  pulls 
back  the  curtain  and  shozvs  the  bars  outside  the 
ivindozv) 

Tricamp.  Clever  thief!  Why,  he  couldn't  even 
put  his  hand  through ! 

Cornelius.  (Looking  at  the  glass)  Here  is  a 
tiny  hole  in  the  glass  ! 

Tricamp.  (In  amazement)  A  hole  in  the  glass ! 
(In  silence  Tricamp  zvatches  Cornelius,  who  con- 
tinues his  examination) 

(Enter  Balthazar  and  the  Officers.) 


THE  BLACK  PEARL  47 

Balthazar.  (In  an  undertone)  Monsieur 
Tricamp,  she  has  run  away ! 

Tricamp.     Run  away ! 

Balthazar.     Through  the  garden. 

Tricamp.  Ah — now  I  see !  (Pointing  to 
Cornelius)  The  man  with  the  package:  the  ac- 
complice ! 

Balthazar.     What ! 

Tricamp.  Yes,  for  the  past  fifteen  minutes  he 
has  been  playing  with  the  bells  and  wires,  in 
order  to  give  her  time  to  get  away.  (He  rushes 
out) 

Balthazar.     (Frightened)     Cornelius! 

Cornelius.  (Standing  on  a  chair,  zvherc  he  has 
been  examining  the  upper  part  of  the  zvindoiv)  At 
last ! 

Balthazar.  You  see,  she  was  guilty :  she  has 
run  away ! 

Cornelius.  (Leaping  to  the  floor)  I  see,  yes: 
she  is  innocent !  We  are  the  guiltv  ones.  We  are 
all  fools! 

Balthazar.     You  seem  crazy  ! 

Cornelius.  I  have  the  thief,  and  if  you  want  to 
know  his  name 

Balthazar.     (Scoffingly)     It  is ? 

Cornelius.  The  lightning!  (At  this  uioment 
cries  are  heard  outside  in  the  street)  Listen! — 
In  the  direction  of  the  Amstel ! 

Balthazar.      That's   the   way   Christiane    went ! 

Cornelius.     Not  that ! 

Balthazar.  (Running  to  the  zcindo-cv)  They 
are  stopping  in  front  of  the  door ! 

Cornelius.    What  is  it? 

Balthazar.     Nothing — don't  look  ! 

Cornelilts.  (Trying  to  go  to  the  zvindow)  I 
must ! 

Balthazar.      (Struggling  zuith  him)      No! 


48  THE  BLACK  PEARL 

(Cornelius  frees  himself  and  makes  for  the 
■li'indoiv  at  the  inojncnt  when  Christiane  is 
home  into  the  room  by  Petersen.  They  are 
folloived  by  Tricamp,  Gudule,  Sara,  Van- 
DERVEN,  Officers,  and  a  number  of  other 
people  from  the  street.  Christiane  is  placed 
in  a  chair  to  tlie  right,  and  immediately  sur- 
rounded.) 

Tricamp.  She  tried  to  jump  into  the  Amstel. 
If  it  had  liot  been  for  this  brave  man — {He  points 
to  Petersen) 

Cornelius.  {On  his  knees  before  Christiane) 
Christiane ! 

Balthazar.     Christiane ! 

Cornelius.  Listen  to  me,  look  at  me — Chris- 
tiane— Christiane — I  love  yon — You  are  innocent — 
Christiane 

Tricamp.     Monsieur  Cornehus,  we  must 

Cornelius.  Keep  still,  I  tell  you.  There,  she 
moved  ! 

(Christiane  moves  her  head  a  little.) 

Gudule.  She  did  move!  (Christiane  appears 
to  be  making  an  effort  to  speak) 

Cornelius.  Don't  speak ! — Dearest,  you  are 
saved !     I  love  you ! 

Tricamp.  Of  course!  Now  I  shall  take  my 
men  away :  we  shall  not  think  of  arresting  her  in 
her  present  state. 

Cornelius.  Arresting  her?  That  is  all  you 
think  about. 

Tricamp.     What  else  can  I  do? 

Cornelius.     I  tell  you,  I  know  who  the  thief  is. 

Tricamp.     May  I  know  the  name? 

Balthazar.     The-  lightning.  Monsieur  Tricamp  I 

All.     The  lishtnine: ! 


THE  BLACK  PEARL  49 

Cornelius.  Yes,  the  lightning.  It  came  down 
the  chimney  into  the  study ;  it  made  its  way  direct 
to  metallic  objects,  licked  up  silver  and  gold,  twisted 
and  melted  the  keys  and  locks,  broke  the  bell  wires, 
stuck  the  dagger  into  the  wall,  and  then  made  its 
escape  through  the  window,  leaving  in  its  wake  this 
black  pearl. 

Tricamp.  Do  you  mean  to  tell  me  that  it  was 
the  lightning  that  tore  off  that  part  of  the  wall 
without  burning  it? 

Cornelius.  It  has  been  known  to  do  stranger 
things !  Look,  man !  Read  up  on  the  subject ! 
Don't  you  know  that  brass  tacks  have  been  torn 
from  chairs  and  driven  into  mirrors  without  break- 
ing the  glass?  That  whole  walls  have  been  carried 
for  a  distance  of  twenty  feet,  intact? 

Tricamp.  Possibly,  but  what  about  gold  and 
jewels? 

Cornelius.  (Jumping  onto  the  table  and  pulling 
aside  the  bell)  Jewels?  Here  they  a^s  in  an  ingot. 
(He  brings  forth  a  solid  mass  of  gold,  silver,  and 
jezvels ) 

Tricamp.     (Stupefied)     In  the  bell? 

Cornelius.  Of  course.  The  steel  wire  was  a 
conductor ! 

Balthazar.     Is  my  locket  there? 

Cornelius.  Yes,  and  your  ducats  and  your 
flower. 

Balthazar.     (Pleased)     The  flower? 

Tricamp.  Very  well.  But  tell  me  about  that 
mysterious  package — (To  Christiane)  that  you 
gave  to  the  man? 

Petersen.    Here  is  the  man. 

Balthazar.     Petersen ! 

Petersen.     And  the  package 

Christiane.  (Continuing  for  him)  Some 
clothes  I  had  made  for  his  little  children.    They  are 


50  THE  BLACK  PEARL 

sick,  Monsieur.  But  I  didn't  say  anything  about  it, 
because  Monsieur  Balthazar  would  have  scolded 
me. 

Tricamp.  Very  well,  Petersen.  (To  Cor- 
nelius)   Tell  me,  what  gave  you  the  idea? 

Cornelius.  The  black  pearl  which  you  handed 
me,  challenging  me  to  find  her  innocent ! 

Tricamp.    Well? 

Cornelius.  Well,  look  at  that  tiny  white  spot. 
That  is  where  the  lightning  struck  it. 

Tricamp.  (Bozving)  Well,  evidently  I  cannot 
arrest  the  lightning!  (To  Christiane)  My  dear 
child,  I  shall  not  arrest  you  either,  but  I  shall  marry 
you ;  I  prefer  that. 

Christiane.      (Feebly)      Marry  me,  to  whom? 

Cornelius.  To  me,  Christiane — if  you  love  me 
and  will  still  have  me? 

Christiane.  (Rising)  You — it's  you?  (She 
cannot  continue) 

Cornelius.  Don't  speak,  Christiane.  (He  gently 
closes  her  lips) 

Christiane.  (Taking  his  hand  away  and  smil- 
ing)    I  must  speak  if  you  want  me  to  say.  Yes! 

Curtain 


THE  WORLD'S  BEST  PLAYS 

BY  CELEBRATED  EUROPEAN  AUTHORS 


A    NEW    SERIES     OF    AMATEUR    PLAYS     BY    THE     BEST 
AUTHORS,     ANCIEWT     AND      5IODERN,     ESPECIALLY 
TRANSLATED    AVITH    HISTORICAL    NOTES,    SUG- 
GESTIONS   FOR     STAGING,     Etc.,     FOR    THE 
USE     OF     SCHOOLS,     COLLEGES,     AND 
DRAMATIC     CLUBS 

BARRETT  H.   CLARK 
General   Editor 

Author  of  "  The  Continental  Drama  of  To-day,"  "  Contempo- 
rary    French     Dramatists,"     translator     and     editor     of 
"Three     Modern     Plays     From     the     French."     "Four 
Plays    of    the    Free    Theater,"    Hervieu's    "The 
Labyrinth,"      etc.,      etc. 

With  the  immensely  increased  demand  for  new  plays  for 
purposes  of  production  by  amateurs  comes  a  correspondingly 
great  demand  for  a  careful  selection  of  those  plays  which 
can  be  easily  and  well  presented  by  clubs  and  colleges.  The 
plays  in  the  present  series  have  been  chosen  with  regard  to 
their  intrinsic  value  as  drama  and  literature,  and  at  the 
same  time  to  their  adaptability  to  the  needs  and  limitation* 
of  such   organizations. 

The  Series,  under  the  personal  supervision  of  Barrett 
H.  Clark,  instructor  in  the  Department  of  Dramatic  Litera- 
ture at  Chautauqua,  New  York,  assistant  stage  manager 
and  actor  with  Mrs.  Fiske  (season  1912-1913),  now  comprises 
forty-five  volumes.  Eventually  there  will  be  plays  from 
ancient  Greece  and  Rome,  Spain,  France,  Russia,  Germany, 
and  the  Scandinavian  countries,  representative  of  the  best 
drama  of   all   ages   and   lands. 

Each  volume  is  prefaced  by  a  concise  historical  note  by 
Mr.  Clark,   and  a  few   suggestions  for   staging. 

PLAYS   NOW   READY 

The  Romancer-s.  A  comedy  in  three  acts.  By  Edmond 
Rostand.  New  translation  of  this  celebrated  and  charming 
little  romantic  play  by  the  famous  author  of  "Cyrano  de 
Bergerac"   and   "Chantecler."      Price   25   cents. 

The  Merchant  Gentleman  (Le  Bourgeois  Gentilhomme).  By 
Moliere.  New  translation  of  one  of  Moliere's  comic 
masterpieces,  a  play  which  is  well  adapted  to  amateur 
production.      9    males,    3    females.      Price    50   cents. 

Pater  Noster.  A  poetic  play  In  one  act.  By  Francois  Coppee. 
3  males,  3  females.  A  pathetic  incident  of  the  time  of  the 
Paris   Commune,    in   1871.      Price    25   cents. 

Indian  Summer.  A  comedy  in  one  act.  By  Meilhac  and 
Halevy.  2  males,  2  females.  This  little  play,  by  two  of 
has  been  played  at  the  Comedie  Francaise  at  Paris  for 
upwards  of  forty  years,  and  is  one  of  the  brightest  and 
the  most  famous  writers  of  comedy  of  the  last  century, 
most   popular  Avorks   of   the   period.      Price   25   cents. 

Modesty.  By  Paul  Hervleu.  2  males,  1  female.  A  delight- 
ful trifle  by  one  of  the  most  celebrated  of  modern 
dramatists.      Price    25    cents. 


IJBKAKY 

UN1VETI?TTY  OF  CALIFORNIA 

SANTA  BARBAilA 


I'm  Oo!ng!  A  comedy  in  one  act.  By  Tristan  Bernard.  A 
delig-htfiil  bit  of  comedy  of  obstinacy  and  reconciliation. 
1   man,   1   woman.      Price   25  cents. 

The  Vlllagre  (Le  Village).  A  comedy  in  one  act.  By  Octave 
Feuillet.  The  author  here  paints  the  picture  of  an  elderly 
couple,  and  shows  that  they  have  not  realized  their 
happiness  until  it  is  on  the  point  of  being  taken  from 
them.      2   women,   2  men.     Price,   25   cents. 

The  Beneficent  Bear.  A  comedy  in  three  acts.  By  Goldoni. 
One  of  the  best-known  comedies  of  the  Father  of  Italian 
Comedy.  A  costume  piece  laid  in  18th  century  France,  the 
principal  character  in  which  is  a  good-hearted,  though 
gruff,  old   uncle.     4   men,   3   women.      Price,   25   cents. 

Graniinur  'La  Grammaire).  A  farce  in  one  act.  By  Labiche. 
An  amusing  and  charming  comedy  by  one  of  the  greatest 
of  10th  century  French  dramatists.  4  men,  1  woman. 
I'rice,    25    cents. 

The  Tivo  Cowards  (Les  Deux  Timides).  A  comedy  in  one 
act.  By  I^abiche.  A  very  amusing  and  human  little 
comedy,  in  which  a  strong-willed  girl  helps  her  father 
choose  for  her  the  man  she  wishes  to  marry.  2  women,  3 
men.     Price,   25  cents. 

Ma.ster  Patellii,  Solicitor.  A  comedy  in  three  acts.  Special 
version  by  Brueys.  One  of  the  most  famous  of  early 
French  farces.  The  setting  and  character  belong  to  the 
late  Middle  Ages.  The  play  is  concerned  with  the  ques- 
tionable dealings  of  a  clever  lawyer.  7  men,  2  women. 
Price,   25  cents. 

Crispin,  His  Master's  Rival.  A  comedy  in  one  act.  By  Le 
Sage.  A  famous  comedy  by  the  author  of  "Gil  Bias," 
concerned  with  the  pranks  of  two  clever  valets.  18th 
century  costumes  and  settings.  4  men,  3  women.  Price 
25    cents. 

The  Legacy.  A  comedy  in  one  act.  By  Marivaux.  A  delicate 
high  comedy  of  intrigue.  Marivaux  is  one  of  the  masters 
of  old  French  comedy,  and  this  play  is  full  of  deft  touches 
of  characterization.      2   women,   4   men.     Price   25   cents. 

After  the  Honeymoon.  A  farce  in  one  act.  By  "Wolfgang 
Gyalui.  A  Hungarian  farce  full  of  brilliant  dialogue  and 
movement.      1    man,    1    woman.      Price,   25   cents. 

A  Christmas  Tale.  A  poetic  play  by  Maurice  Bouchor.  A 
beautiful  little  miracle  play  of  love  and  devotion,  laid  in 
15th  century  Paris.     2  men,   2  women.     Price.   25  cents. 

The  Fairy  (La  Fee).  A  romantic  comedy  in  one  act.  By 
Octave  Feuillet  Laid  in  a  hut  in  Brittany,  this  little 
comedy  is  full  of  poetic  charm  and  quiet  humor.  The 
element  of  the  supernatural  is  introduced  in  order  to  drive 
home  a  strong  lesson.     1  woman,  3  men.     Price,  25  cents. 

Jean-niarle.  A  poetic  play  in  one  act.  By  Andre  Theuriet. 
A  pathetic  play  of  Norman  peasant  life.  2  men,  1  woman. 
Price,   25   cents. 

The  Rcl(oun«l.  A  comedy  in  one  act.  By  L.  B.  Picard.  A 
clever  comedy  of  intrigue,  and  a  satire  of  social  position. 
2   women,   5   men.      Price,   25   cents. 

Lyalstrnta.  By  Aristophanes.  An  acting  version  of  this 
brilliant  satire  on  Athenian  foibles,  with  strikingly  modern 
features.  4  men,  5  women,  1  child.  Chorus  of  old  men  and 
one  of  Greek  matrons,  about  15  in  each.  Text  is  accom- 
panied with  full  outline  of  an  effective  color  scheme  for 
costuming.     Price  25  cents.  


Rosalie.      By    Max    Maurey.      1    male,    2    females.      A    "Grand 
Gulgnol"    comedy    in    one    act,    full    of    verve    and    clever 
dialogue.     Rosalie,  the  stubborn  maid,  leads  her  none   too 
amiable    master   and   mistress   into    uncomfortable   corapli- 
cations  by  refusing-  to  open  the  front  door  to   a  supposed 
guest  of  wealth  and  influence.     Price  25  cents. 
The   Art   of   Being    Bored    (Le    Monde    ou    Ton    s'ennuie).      A 
comedy   in   three   acts.      By   Edouard   Pailleron.      11    males, 
9  females.     Probably  the  best-known  and  most  frequently 
acted    comedy    of    manners    in    the    realm    of    nineteenth 
century   French   drama.     It   is   replete   with   wit  and  comic 
situations.      For  nearly   forty  years   it  has   held   the   stage, 
while    countless    imitators    have    endeavored    to    reproduce 
Its   freshness   and   charm.      Price    25    cents. 
A    Marriage    Proposal.      By    Anton    Tchekoff.       2     males,     1 
female.     A  comedy    in   one   act,   by   one   of   the   greatest   of 
modern  Russian  writers.     This  little  farce  is  very  popular 
in    Russia,    and    satirizes    the    people    of    that    country    in 
an  amusing   manner.      Price    25   cents. 
The   Green    Coat.      By    Alfred    de   Musset   and    Emile    Augier. 
3   males,   1   female.     A  slight  and   comic   one-act   character 
sketch  of  the  life  of  Bohemian  artists  in  Paris,  written  by 
one  of  France's  greatest  poets  and  one  of  her  best-known 
dramatists.      Price    25    cents. 
The  Wager.     By  Giuseppe  Giacosa.     4  males,  1  female.     This 
one    act    poetic    comedy,    written    by    the    most    celebrated 
dramatist   of    modern    Italy,    was    the    author's    first    v\'ork. 
It  treats   of  a   wager   made   by   a   proud   young   pa<?e.   who 
risks  his   life  on   the   outcome   of  a  gaiae  ol    ch, oo.      i'rice 
25   cents. 
Phormio.    A  Latin  comedy.     By  Terence.     11  males,  2  females. 
An  up-to-date  version  of  the  famous  comedy.     One  of  the 
masterpieces   of   Latin    drama;    t'le   r.tnry   of   a   father   who 
returns    to    find    that    his    son    has    uiu.ir;ed    a    slave    girl. 
Phormio,    the    parasite-villain    who    causes    the    niimorous 
comic  complications,  succeeds  in  unraveling  the  difficulties, 
and  all  ends  happily.     Price   25  cents. 
The   Little    Shepherdess.      A   poetic   comedy    in   one    act.      By 
Andre   Rivoire.      1   male,   2   females.      A  charming  pastoral 
sketch     by     a     well-known     French     poet     and     dramatist. 
Played  with   success   at  the   Comedie   Francaise.      Price   25 
cents. 
The  Boor.     By  Anton  Tchekoff.     2  males,  1  female.     A  well- 
known  one-act  farce  by  the  celebrated  Russian  master;  it 
is   concerned   with    Russian  characters,   and   portrays   with 
masterly    skill    the    comic    side    of    country    life.      Price    2o 
cents. 
The  Black  Pearl.     By  Victorien  Sardou.     7  males,  3   females. 
One    of    Sardou's    most    famous    comedies    of    intrigue.      In 
three  acts.     A  house  has,   it  is  thought,  been  robbed.     But 
through    skilful    investigation    it    is   found    that   the    havoc 
wrought  has   been  done  by  lightning.     Price   25   cents. 
Charming  Leandre.      By    Theodore   de   Banville.      2    males,    1 
female.      In  one   act.      The   author  of   "  Gringoire       is   here 
seen  in  a  poetic  vein,  yet  the  Frenchman's  innate  sense  of 
humor   recalls,    in   this   satirical   little   play,    the   genius   or 
Moliere.     Price   25  cents. 
The    Post-Serlpt.       By    Emile   Augier.        1    male,    2    femalea. 
Of     this     one-act     comedy     Professor     Brander    Matthews 
writes:     "...     one  of  the  brightest  and  most  brilliant 
little  one-act  comedies  in  any  language,  and  to  be  warmly 
recommended  to  American  readers."     Price  2o  cents. 


The  Twins.  By  Plautus.  7  males,  2  females.  A  Latin  farce, 
upon  which  Shakespeare  founded  his  Comedy  of  Errors. 
Price  25  cents. 

T;».->  House  of  Kourchanshault.  By  Emile  Augier.  4  malej, 
4  femaJfs.  In  four  acts.  One  of  the  greatest  of  recent 
French  family  dramas.  Although  the  play  is  serious  In 
t  )ne,  it  contains  touches  which  entitle  it  to  a  position 
3tnong  the  best  comedies  of  manners  of  the  times.  Price 
uO  cents. 

'Vrv  I>«»-?ti»r  3i«  Spite  of  Himself  (Le  Medecin  malgre  lul). 
V,y  Molitre.  f>  males,  3  females.  A  famous  farce  by  th» 
ijreatfc.sl  of  French  dramatists.  Sganarelle  has  to  b« 
beaten  l)cfore  he  will  acknowledge  that  he  is  a  doctor, 
which  he  is  not.  He  then  works  apparently  mlraculoua 
euros.  The  play  is  a  sharp  satire  on  the  medical  profes- 
•sion  in  the  17th  Century.     Price  25  cents. 

l.r'iii"^'  ;5is«l  His  DauRliler.  By  Alfred  Capus.  5  males,  4 
females.  In  three  acts.  The  first  comedy  in  English  of 
ij'.-;  most  sprigrlitly  and  satirical  of  present-day  French 
dramatists.     Price   50  cents. 

CijooMftij;  »  CuTivr.  By  G.  A.  de  Caillavet.  Written  by  one 
;>r  the  authors  of  "Love  Watches."  A  one-act  farce  of 
mistaken  identity,  full  of  humorous  situations  and  bright 
lines.     Price  25  cents. 

i'ri-ijcjj  Uttuoiit  a  Master.  By  Tristan  Bernard.  5  malei, 
2  fem.-.le.s.  A  clever  one-act  farce  by  one  of  the  most  suc- 
fi'.s.sful  of  French  drrmati.sts.  It  is  concerned  with  the 
diiliculties  of  a  make-believe  interpreter  who  does  not 
know  a  word  of  French.     Price  25  cents. 

I';>'it.rf^e'.>j  Slieep.  A  comedy  in  one  act.  By  Mellhac  and 
Ha  levy.  A  famous  and  often-acted  little  play  based  upon 
the  obstinacy  of  a  charming  woman,  who  is  finally  induced 
to  marry.      1   man,   2  women.     Price,   25  cents. 

Ttje  L.a»v-Siiit  (Der  Prozess).  A  comedy  in  one  act.  By 
lloderich  Benedix.  A  famous  comedy  by  the  well-known 
fJerman  dramatist — author  of  "The  Obstinate  Family," 
and  "  The  Third  Man."  The  play  is  full  of  amusing  situ- 
ations and  bright  lines.     5  men.     Price  25  cents. 

T!«e  Third  Man.  (Der  Dritte).  A  comedy  in  one  act.  By 
Uoderich  Benedix.  A  highly  amusing  little  comedy  based 
upon  the  obstinacy  of  human  beings,  and  proves  the 
truth  of  the  saying  that  "love  finds  a  way."  3  women, 
1    man.      Price   25   cents. 

The  SJciltan  (Le  Sicilien).  A  farce  In  two  acts.  By 
Moliere.  One  of  the  lighter  comedies  of  intrigue.  This 
play  is  laid  in  Sicily,  and  has  to  do  with  the  capture  of 
a  beautiful  Greek  slave  from  her  selfish  and  tyrannical 
master.     4   men,   3   women.     Price   25  cents. 

Doctor  Love  (L'Amour  Medicin).  a  farce  in  three  acta  by 
Moliere.  An  uproarious  farce,  satirizing  the  medical  pro- 
fession. Through  it  runs  the  story  of  a  young  girl  who 
pretends  to  be  ill  in  order  that  she  may  marry  the  man 
she   loves.     5   men,   4   women.      Price   25   cents. 

The  Affected  Young  Ladies  (Les  Precleuses  ridicules).  A 
comedy  in  one  act  by  Moliere.  The  famous  satire  on 
intellectual  and  social  affectation.  Like  most  of  Moliere'* 
plays,  the  theme  In  this  is  strikingly  modern.  3  women, 
()  men.     Price  25  cents. 

Crain<]uel>ille.  A  play  in  three  scenes.  By  Anatole  France. 
A  delightful  series  of  pictures  of  Parisian  street  life,  by 
the  author  of  "The  Man  Who  Married  a  Dumb  Wife.* 
12   men.   6  women.     Price   25  cents. 


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